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Christoph Willibald Gluck 1774-1779 : to a universal style ? : Contribution to the analysis of Iphigénie en Aulide, Armide, Iphigénie en Tauride, Écho et Narcisse

Identifieur interne : 000467 ( Main/Exploration ); précédent : 000466; suivant : 000468

Christoph Willibald Gluck 1774-1779 : to a universal style ? : Contribution to the analysis of Iphigénie en Aulide, Armide, Iphigénie en Tauride, Écho et Narcisse

Auteurs : Julien Garde [France]

Source :

RBID : Hal:tel-01059088

Mots-clés :

Abstract

When Christoph Willibald Gluck (1714-1787) arrived in Paris in the fall of 1773, eleven years have passed since the creation of Orfeo in Vienna. The break with the opera seria was consumed, and the development of theories of the " reform " initiated by the collaboration with Calzabigi is firmly committed to the search for a European drama. It would be wrong to split the composer's career between " before " and " after " Orfeo, as Gluck's work is defined as the permanent development of the first dramatic ideas applied in his first Italian opera. Gluck established his " reform " from the sensible and practical experience, questioning actually all musical European genres, not their legitimacy, but they offer the possibility of emancipation. This study focuses on French works in that they develop autonomy and musical development, from, surprisingly, the step back compared to the independence of the music, and thanks to the emergence in the European Enlightenment of an aesthetic based on the meeting and the connection between the arts. It is to propose a contribution to the study of musical scores last course taken as elements of gluckiste language, but also considered suggestions from the original works of the first and, to the extent possible, given the discussions and controversy over the music and opera of the time. Parisian dramas therefore elucidate the concept of universal language which the composer calls himself.


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<div type="abstract" xml:lang="en">When Christoph Willibald Gluck (1714-1787) arrived in Paris in the fall of 1773, eleven years have passed since the creation of Orfeo in Vienna. The break with the opera seria was consumed, and the development of theories of the " reform " initiated by the collaboration with Calzabigi is firmly committed to the search for a European drama. It would be wrong to split the composer's career between " before " and " after " Orfeo, as Gluck's work is defined as the permanent development of the first dramatic ideas applied in his first Italian opera. Gluck established his " reform " from the sensible and practical experience, questioning actually all musical European genres, not their legitimacy, but they offer the possibility of emancipation. This study focuses on French works in that they develop autonomy and musical development, from, surprisingly, the step back compared to the independence of the music, and thanks to the emergence in the European Enlightenment of an aesthetic based on the meeting and the connection between the arts. It is to propose a contribution to the study of musical scores last course taken as elements of gluckiste language, but also considered suggestions from the original works of the first and, to the extent possible, given the discussions and controversy over the music and opera of the time. Parisian dramas therefore elucidate the concept of universal language which the composer calls himself.</div>
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