Christoph Willibald Gluck
Christoph Willibald 'Gluck' was a German composer of Italian and French opera in the early classical period. Born in the Upper Palatinate and raised in Bohemia, both part of the Holy Roman Empire at the time, he gained prominence at the Habsburg court in Vienna. There he brought about the practical reform of opera's dramaturgical practices for which many intellectuals had been campaigning. With a series of radical new works in the 1760s, among them Orfeo ed Euridice and Alceste, he broke the stranglehold that Metastasian opera seria had enjoyed for much of the century. Gluck introduced more drama by using orchestral recitative and cutting the usually long da capo aria. His later operas have half the length of a typical baroque opera.
The strong influence of French opera encouraged Gluck to move to Paris in November 1773. Fusing the traditions of Italian opera and the French into a unique synthesis, Gluck wrote eight operas for the Parisian stage. Iphigénie en Tauride was a great success and is often considered to be his finest work. Though he was extremely popular and widely credited with bringing about a revolution in French opera, Gluck's mastery of the Parisian operatic scene was never absolute. After the poor reception of his Echo et Narcisse, he left Paris in disgust and returned to Vienna to live out the remainder of his life.
Life and career
Ancestry
Gluck's earliest known ancestor is his great-grandfather, Simon Gluckh von Rockenzahn, whose name is recorded in the marriage contract of his son, the forester Johann Adam Gluck and grandfather of Christoph. 'Rockenzahn' is believed to be Rokycany, located in the central part of western Bohemia. The family name Gluck likely comes from the Czech word for boy. In its various spellings, it is repeatedly found in the records of Rokycany. Around 1675 Hans Adam moved to Neustadt an der Waldnaab in the service of Prince Ferdinand August von Lobkowitz, who possessed extensive landholdings in Bohemia as well as the county of Störnstein-Neustadt in the Upper Palatinate.Gluck's father, Alexander, was born in Neustadt an der Waldnaab on 28 October 1683, one of four sons of Hans Adam Gluck who became foresters or gamekeepers. Alexander served in a contingent of about 50 soldiers under Philipp Hyazinth von Lobkowitz, the son of Ferdinand August von Lobkowitz, during the War of Spanish Succession, and, according to Gluck family tradition, rose to the level of gunbearer to the great general of the imperial forces, Eugene of Savoy. In 1711 Alexander settled outside Berching as a forester and hunter in the service of the monastery Seligenporten, Plankstetten Abbey, and the mayors of Neumarkt in der Oberpfalz. He took the vacant position of hunter in Erasbach in 1711 or 1712.
About Gluck's mother, Maria Walburga, almost nothing is known, including her surname, but she probably grew up in the same area as she was named after Saint Walburga, the sister of Saint Willibald, the first bishop of nearby Eichstätt. The couple probably married around 1711. In 1713 Alexander built a house in Erasbach and by 12 September had taken possession of it.
Birth
Although there is no documentary record with Gluck's birthdate at the time of his birth, he himself gave it as 2 July 1714 on an official document requested by Paris that he signed in 1785 in Vienna in the presence of the French ambassador Emmanuel Marie Louis de Noailles. This has long been the commonly accepted date. He was baptized Christophorus Willibaldus on 4 July 1714 in the village of Weidenwang, a parish that at that time also included Erasbach. Gluck himself never used the name Willibald. The church in Weidenwang was consecrated to Saint Willibald, and the name Willibald is frequently found in the baptismal register, often as a second name. No documents contemporary with Gluck's life use the name Willibald. Only in the 19th century did scholars begin using it to distinguish the composer from his father's brother Johann Christoph, born in 1700, whose baptism had earlier been confused with that of the composer.In the year of Gluck's birth, the Treaty of Rastatt and the Treaty of Baden ended the War of Spanish Succession and brought Erasbach under Bavarian control. Gluck's father had to reapply to retain his position and received no salary until after 1715, when he began receiving 20 gulden. He obtained additional employment in the vicinity of Weidenwang in 1715 as a forester in the service of Seligenporten Monastery, and after 1715, also with Plankstetten Abbey. In 1716 Alexander Gluck was cited for poor performance and warned he might be terminated. He sold his house in August 1717 and voluntarily left Erasbach near the end of September to take up employment as head forester in Reichstadt, serving the Duchess of Tuscany, the wealthy Anna Maria Franziska of Saxe-Lauenburg, since 1708 separated from her husband Gian Gastone de' Medici, the last duke of Tuscany.
On 1 April 1722 Alexander Gluck took a position as forest-master under Count Philipp Joseph von Kinsky in Böhmisch Kamnitz, where Kinsky had increased his domains. The family moved to the forester's house in nearby Oberkreibitz.
In 1727 Alexander moved with his family to Eisenberg to take his final post, head forester to Prince Philipp Hyazinth von Lobkowitz. It is unclear if Christoph was sent to the Jesuit college in Chomutov, 20 km southwest.
The Alsatian painter Johann Christian von Mannlich relates in his memoirs, published in 1810, that Gluck told him about his early life in 1774. He quotes Gluck as saying:
Early life
In 1727 or 1728, when Gluck was 13 or 14, he went to Prague. A childhood flight from home to Vienna is included in several contemporary accounts of Gluck's life, including Mannlich's. However, some scholars have cast doubt on Gluck's picturesque tales of earning food and shelter by his singing as he travelled. Most scholars now feel it is more likely that the object of Gluck's travels was not Vienna but Prague. Gluck's German biographer Hans Joachim Moser claimed in 1940 to have found documents showing Gluck matriculated in logic and mathematics at the University of Prague in 1731. Gerhard and Renate Croll find this astonishing, and other biographers have been unable to find any documents supporting Moser's claim. At the time the University of Prague boasted a flourishing musical scene that included performances of both Italian opera and oratorio. Gluck sang and played violin and cello, and also the organ at Týn Church.Gluck eventually left Prague without taking a degree and vanishes from the historical record until 1737. Nevertheless, the memories of his family and indirect references to this period in later documents give good grounds for believing Gluck arrived in Vienna in 1734, where he likely was employed by the Lobkowitz family at their palace in the Minoritenplatz. Philipp Hyazinth Lobkowitz, Gluck's father's employer, died on 21 December 1734, and his successor, his brother Johann Georg Christian Lobkowicz, is thought to have been Gluck's employer in Vienna from 1735 to 1736. Two operas with texts Gluck himself was later to set were performed during this period: Antonio Caldara's La clemenza di Tito and Le cinesi. It is likely that the Lobkowitz family introduced Gluck to the Milanese nobleman Prince Antonio Maria Melzi, who engaged Gluck to become a player in his orchestra in Milan. The 65-year-old prince married the 16-year-old Maria Renata, Countess of Harrach, on 3 January 1737, and not long after returned with Gluck to Milan.
Question of Gluck's native language
According to the music historian Daniel Heartz, there has been considerable controversy concerning Gluck's native language. Gluck's protégé in Vienna, the Italian-born Antonio Salieri, wrote in his memoirs, that "Gluck, whose native tongue was Czech, expressed himself in German only with effort, and still more so in French and Italian." Salieri also mentions that Gluck mixed several languages when speaking: German, Italian and French, like Salieri himself. Gluck's first biographer,, wrote that Gluck grew up in a German-speaking area, and that Gluck learned to speak Czech, but did not need it in Prague and in his later life. Heartz writes: "More devious manoeuvres have been attempted by Gluck's German biographers of this century, while the French ones have, without exception, taken Salieri at his word. His German biographer Max Arend objected that not a single letter written in Czech can be found, to which Jacques-Gabriel Prod'homme countered that "no letters written by Liszt in Hungarian were known either, but does this make him a German?" Hans Joachim Moser wanted a lyric work in Czech as proof. In fact, the music theorist Laurent Garcin, writing in 1770 before Gluck arrived in Paris, included Gluck in a list of several composers of Czech opéras-comiques. A presentation by Irene Brandenburg classifying Gluck as a Bohemian composer was considered controversial by her German colleagues.Italy
In 1737 Gluck arrived in Milan and was introduced to Giovanni Battista Sammartini, who, according to Giuseppe Carpani, taught Gluck "practical knowledge of all the instruments". Apparently, this relationship lasted for several years. Primarily, Sammartini was not a composer of opera for his main output was sacred music and symphonies. However, Milan boasted a vibrant opera scene, and Gluck soon formed an association with one of the city's up-and-coming opera houses, the Teatro Regio Ducale. There his first opera Artaserse was performed on 26 December 1741, dedicated to Otto Ferdinand von Abensberg und Traun. Set to a libretto by Metastasio, the opera opened the Milanese Carnival of 1742. According to one anecdote, the public would not accept Gluck's style until he inserted an aria in the lighter Milanese manner for contrast.Nevertheless, Gluck composed an opera for each of the next four Carnivals in Milan, with renowned castrato Giovanni Carestini appearing in many of the performances. He also wrote operas for other cities of Northern Italy in between Carnival seasons, including Turin and Venice, where his Ipermestra was performed in November 1744 at the Teatro San Giovanni Crisostomo. Nearly all of his operas in this period were set to Metastasio's texts, despite the poet's dislike for his style of composition.