Gluck Complete Edition V/2. Par GLUCK CHRISTOPH WILLIBALD. While Christoph Willibald Gluck dedicated his artistic life almost entirely to the composition of works for the opera stage, he also produced a number of instrumental works which have been somewhat marginalized until recently. This volume of the 'Gluck Complete Edition” (GGA) is the first to present 17 symphonies attributed to Gluck in a historical-critical edition - furthermore, the volume includes a new version of one of the trio sonatas published in 1961 as part of the GGA. Current research indicates that no reliable information about the genesis of the respective works exists for any of the symphonies attributed to Gluck. This is due to a lack of both autograph sources and reliable data pertaining to the history and first performances of these works. It is assumed that some of the existing symphonies might in fact be the lost overtures of Gluck's earlier operas. Others were possibly written to be performed in private or public concerts. The greatest challenge for the editors of this volume was posed by the question of authenticity and authorship of the works presented here. As no autographs exist for any of the symphonies bearing Gluck's name, the only indicators of authorship are attributions in the copies of score and parts, either original or added at a later time. The reliability of these attributions for individual works largely depends on the respective state of source material, meaning available sources as well as the condition of the respective copy. A thorough authenticity analysis concluded Gluck's authorship as valid in the case of 13 symphonies, while in the case of four other symphonies, diverging attributions lead to the acceptance of open authorship. As a result, this volume includes all compositions for which, according to the most current research, Gluck's authorship has not been refuted. In the case of two symphonies, one concerto for flute, and six trio sonatas published in 1961 as part of the GGA, Gluck's authorship has been disproven - detailed explanations are included in the volume's Foreword (Ger). The Foreword also discusses the individual instrumental works attributed to Gluck by various encyclopedias. In addition to the detailed Foreword, the volume includes facsimiles of representative source excerpts. The Critical Commentary (Ger) analyzes the state of sources and includes extensive information on editorial principles and performance practice./ Répertoire / Orchestre

Couverture Rigide. Par GLUCK CHRISTOPH WILLIBALD. For his Paris 'Cythère assiégée?, Gluck drew on his eponymous opéra comique from 1759, transforming it into an opéra-ballet. The libretto which was expanded by Charles Simon Favart was adapted: Gluck added recitative passages, reworked individual sections and also added his own compositions, modifying them in parts. By March 1775, the compositional work had progressed sufficiently for Gluck to leave behind a copy of the score as he departed from Paris. However, he was unable to supervise rehearsals or be present at the premiere (1 August 1775) or any of the subsequent 21 performances. Due to these particular circumstances, three versions of the work are to be distinguished: the original version, the performed version and the printed version. This edition of 'Cythère assiégée? contains the original version of the main part and is printed here for the first time. The reconstruction which was necessary in order to determine the original form of this opera draws on all orchestral parts, the printed score and with regard to a large gap in Act III, pages were taken from the score copy. The four-part appendix includes the changes made to this score copy, sections that deviate from the printed score as well as the final version of Act III, also from the printed score. The last part of the appendix also presents a Divertissement in six movements by Berton, which is only available as a rare contemporary set of printed parts. The Foreword offers detailed information regarding the work's genesis, subject matter, preparations for performance and print, premiere, reception, and this edition. Selected pages from significant musical sources, the libretto of the premiere performance, and images illuminating the performance context, have been added as facsimiles./ Répertoire / Conducteur

Gluck's 'Orfeo et Euridice' was one of three operas composed by Gluck in an attempt to reform the Italian opera seria. The libretto is noble and grand and this must have inspired Gluck for his approach to the score is alsomonumental as well as orchestral in nature. The opera opens after the death of Euridice to a funereal choral tableau which is pierced by the cries of the anguished Orfeo. Huge dramatic choruses of shades and furiescontrast starkly with the solo recitatives and arias of Orfeo as he searches for Euridice. The third act is particularly beautiful as Gluck and Calzabigi turn the shade of Euridice into a complex lover and wife unwilling tofollow her husband blindly out of Hades even though she has been called back to life. Her arguments and pleadings her passion and confusion create the torment in Orfeo that results in her being sent back to hell. Thisis the Schirmer edition of the Libretto in the original Italian with an English translation by Walter Ducloux.

Christoph Willibald Gluck?s most popular opera ?Orphée et Euridice? was performed in 1774 in Paris to sensational success. This new adaption followed the original Viennese version with Italian text that was first performed in 1762 under the direction of the composer in the Burgtheater. For the Paris version Gluck changed the leading part Orpheus from an alto to a tenor role and composed new recitatives.Both versions of Gluck?s reform drama are based on a libretto by Ranieri de? Calzabigi and revolutionised metastasian opera of the 18th century. Solo and choral music instrumental music pantomime and dance are all closely connected; the myth replaces a historical plotsurrounded by intrigue; where there would have been a da-capo aria there are now simple song forms and coloratura is largely abandoned. These meticulously revised vocal scores of both versions are also newly set.Urtext editions based on ?Gluck The Complete Works?Revised and newly setNew forewords ?Orfeo? (Ger/Eng/Ital) ?Orphée? (Ger/Eng/Fr)Clear idiomatic piano reductionsThe revised editions are compatible with the old editionsFull score (BA2282-01) and vocal score (BA2282-90) available for salePerformance material (BA2282-72) available for hire

Gluck's second French reform Opera Orphee Et Euridice was first performed in 1774. It was a reworking of a previous Italian opera that Gluck had composed in Venice in 1762 and which marked the begininning of Gluck's operatic reforms. He had the libretto translated from Italian to French and modified and recast the entire opera to cater to the taste of the French audiences. The present arrangement retains the original Flute part whilst the Piano is assigned the function of the Orchestral accompaniment.

Gluck, Christoph Willibald Orpheus and Eurydice Opera in three actsVienna Version 1762 Details Edition no.: BA 5845-90 ISMN: 9790006558735 Editor: Abert, Anna Amalie / Finscher, Ludwig Arranger: Moehn, Heinz Language(s) of work: Italian, German Language(s) of text: German, English, Italian Product format: Piano reduction, Urtext edition Comments: Replaces BA 2294-90 Binding: Paperback Pages / Format: XVI, 164 S. - 27,0 x 19,0 cm The premiere of the Azione teatrale “Orfeo ed Euridice” took place in Vienna in 1762 and plays a significant role in the history of the music theatre. With this work, the composer for the first time rejected the rigid conventions of the Italian opera seria and made an important first contribution towards the renewal of opera genre. In collaboration with his librettist Calzabigi, Gluck reduced the plot to its essentials and freed it from the typical political and romantic intrigues which prevailed at that time. The choir takes on a larger role and the ballet is integrated into the plot. Solo and choral parts, instrumental music as well as pantomime and dance are closely connected. The style of singing has a natural simplicity and coloratura is largely abandoned. This stands in stark contrast to the vocal acrobatics of opera seria. · Urtext edition based on the “Gluck Complete Works” · Revised and newly set · Italian libretto with singable German translation · Comprehensive foreword (Ger/Eng/Ital) on the genesis of the work and its reception as well as on the plot · Clear, idiomatic piano reduction

The fact that 'opéra comique' rooted in the folk art of the French vaudeville was brought to its high-point by Gluck a German composer working in Italian clearly demonstrates the close relationships and interconnections made in European musical life in the mid-18th century. With L?Ile de Merlin ou Le monde renversé Gluck created an enchanting buffo work which draws its charm not only from its colourful music with appealing details of instrumentation and characterisation but also from the juxtaposition of real mythological and fairy-tale figures as well as from the critical social undertones in the libretto.Thenew edition is based on the Gluck Complete Edition Series IV volume 1 edited by Günter Haußwald. It contains the original French text with singing German translation and a detailed foreword in the vocal score (Ger/Eng/Fr).

Baritone. This volume contains French operatic arias for baritone from works that opera reformer Christoph Willibald Gluck was commissioned to compose for the Paris Opéra: ?Iphigénie en Aulide? (1774) | ?Cythère assiégée? (1775) | ?Alceste? (1776) | ?Armide? (1777) | ?Iphigénie en Tauride? (1779). The informative text sections contain a Foreword (Fr/Eng), a brief account of the dramatic context and a literal English translation of each aria. About the series: Christoph Willibald Gluck: French Operatic Arias. For the first time all the arias from Christoph Willibald Gluck?s French operas are being published in arrangements for voice and piano. This series, a coproduction with the Centre de musique baroque de Versailles (CMBV), presents this collection according to voice register in four volumes. With their wealth of arias and informative texts, these volumes offer a rich treasure-trove from works by this major 18th-century opera composer for use in voice lessons, auditions and recitals.

Tragédie-opéra in three acts. Paris Version 1776.In 1774 Gluck had committed himself to supplying six stage works to the Academie Royale de Musique in Paris. This job he fulfilled partially by reworking works which had already been premiered in Vienna.In the case of the Paris Alceste (1776) which Gluck had also originally composed for Vienna (1767) the composer created a completely new version which was to become the prototype of the so-called reform opera. The libretto was translated from the former Italian into French and was altered at the same time but also the music was fundamentally changed: Gluck newlycomposed the recitatives and rearranged enlarged or cut scenes.The initial rejection of the work by the audience caused him to further alter the third act for example by adding the character of Hercules as Alceste's saviour. In this form the opera finally became a big success.- Full score (BA2291) available for sale; performance material (BA2291-72) available for hire.

Azione teatrale per musica in 3 Acts-The premiere of the Azione teatrale “Orfeo ed Euridice” took place in Vienna in 1762 and plays a significant role in the history of the music theatre. With this work the composer for the first time rejected the rigid conventions of the Italian opera seria and made an important first contribution towards the renewal of opera genre. In collaboration with his librettist Calzabigi Gluck reduced the plot to its essentials and freed it from the typical political and romantic intrigues which prevailed at that time. The choir takes on a larger role and the ballet is integrated into the plot. Solo and choral parts instrumental music as well as pantomimeand dance are closely connected. The style of singing has a natural simplicity and coloratura is largely abandoned. This stands in stark contrast to the vocal acrobatics of opera seria. Urtext edition based on the “Gluck Complete Works” Revised and newly set Italian libretto with singable German translation Comprehensive foreword (Ger/Eng/Ital) on the genesis of the work and its reception as well as on the plot Clear idiomatic piano reduction

Par GLUCK CHRISTOPH WILLIBALD. Urtext/ Répertoire / 2 Violons et Basse Continue

Sonaten E-dur und F-dur. Par GLUCK CHRISTOPH WILLIBALD. Urtext/ Répertoire / 2 Violons et Basse Continue