Brief biography of Christopher Willibald Gluck. Biography of glitch and brief haratterism of composer creativity

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Christophe Willibald von Glitch is a musical genius, whose creativity in the history of world musical culture is difficult to overestimate. His reform activity can be called the revolution override the former foundations that existed in opera art. Having created a new opera style, he determined the further development of European opera art and had a significant impact on the work of such musical geniuses as L. Beethoven, Berlioz and R. Wagner.

A brief biography of Christopher Willibald Gluck and many interesting facts about the composer read on our page.

Brief biography glitch

In 1714, on July 2, in the family of Alexander Glitka and his wife, Mary, who stayed in the town of Erasbach, located near the Bavarian city of Burching, there was a joyful event: a boy appeared on the world - the firstborn, who was giving the name Christoph Willibald. The older glitch, who served in his youth in the army, and then chose himself as the main work of the Forensch, at first it was not lucky with employment, and for this reason the whole family had to move often, changing the place of residence, while in 1717 it did not happen to move to Czech in 1717 Bohemia.

The biography of the glitch states that from early age parents began to notice special musical abilities from their son Christopa and interest in mastering various kinds of musical instruments. Alexander was categorically against such a passion of a boy, since in his thoughts the firstborn should have continued a family business. As soon as Christophe has grown, his father began to attract him to his work, and when the boy was twelve years old, parents identified him in the Jesuit College in the Czech city of Khomutov. In the educational institution, Christoph mastered Latin and Greek, and also studied antique literature, history, mathematics, natural science. In addition to the main items, he was enthusiastic with musical instruments: violin, celloPiano, organ And, having a good voice, sang in the church's choir. In college, the glitch was studied for more than five years and, despite the fact that parents were looking forward to the return of the son home, the young man in advance their will decided to continue his education.

In 1732, Christoph entered the University of Prague at the Faculty of Philosophy, and, having lost due to his disobedience of material support of relatives, earned himself to a living on violin and cello in the composition of the stray ensembles. In addition, the glitch served the singers in the church of the Church of St. Yakub, where she met the composer Boguslav Chernogorsk, who appeared for the glitch by a music teacher who introduced a young man with the basics of the composition. At this time, Christoph begins to compose little, and then stubbornly improve its composer knowledge acquired from an outstanding maestro.

Start of creative activity

In Prague, a young man lived only two years, after reconciliation with his father, he was represented by the film von Lobkovitsa (he had a glitch-senior at that time consisted of service). Agenial one, appreciating Christoph's musical professionalism, made him a proposal from which young man could not refuse. In 1736, the glitch becomes singing in a chapel and camera musician in the Vienna Palace of Prince Lobkovitz.

In the life of Christopher, a new period began, which can be designated as the beginning of his creative path. Despite the fact that the Austrian capital has always attracted a young man, as a special musical atmosphere has reigned here, his stay in Vienna was not long. In one of the evenings, the Italian magnate and the Metzenate A. Meltsi was invited to the Palace of Prince Lobkovitz. Delighted glitch talent, the count offered the young man to go to Milan and take the post of camera musician in his home chapel. Prince Lobkovitz, being a real connoisseur of art, not only agreed with this intention, but also supported him. Already in 1937, Christoph in Milan began to fulfill duties in his new position. The time spent in Italy was very fruitful for glitch. He met, and then began his friends with a prominent Italian composer Giovanni Sammartini, for four years the composition of Christif, which, by the end of 1741, the musical education of a young man could be considered completely completed. This year in the life of the glitch became very important also because it was marked by the beginning of his composer career. It was then that Christoph wrote his first opera "Artaxerks", the premiere of which successfully passed in the Milan court of the "Reggie-Dukal" theater and brought the young composer to recognition, the orders for musical performances from theaters of various Italian cities: Turin, Venice, Cremonies and Milan .

Christophe has an active composer life. In four years, he wrote ten operas, produced whose success and brought him recognition of the sophisticated Italian public. The fame of the glitch grew with each new premiere and now it began to flow creative proposals from other countries. For example, in 1745, Lord Mildron - the manager of the Italian opera of the famous Royal Haymarket Theater, invited the composer to visit the English capital, so that the London public could get acquainted with the works of Maestro, who acquired great popularity in Italy. This trip has become very important for glitch, as it has had a significant impact on his further creativity. Christoph in London got acquainted with HandelAt that time, the most popular opera composer, and for the first time she listened to his monumental orata, which made a strong impression on the glitch. According to the contract with the London Royal Gluch Theater, two pasticcho submitted to the public: "the fall of giants" and "artamena", but both performances of great success in English music lovers did not have.

After the tour in England, a creative tour of the glitch lasted for another six years. Having taught the position of the Kapelographer of the Opera Trupping of the Italians Mingotti, he drove around the cities of Europe, where not only put, but also composed new operas. His name gradually acquired more and more fame in cities such as Hamburg, Dresden, Copenhagen, Naples and Prague. Here he got acquainted with interesting creative people and enriched his margin of musical impressions. In Dresden in 1749, Glitch put the newly written musical performance "Wedding Hercules and Geba", and in Vienna in 1748, another new opera called "recognized seminimide" composed to the opening of the reconstructed Burgteateater. The magnificent splendor of the premiere dedicated to the birth of the wife of Emperor Mary Teresia and who has passed with great success, marked the beginning of the series of subsequent Viennese composer triumphs. In the same period, the personal life of Christopa there were nice changes. He met a charming girl Maria Pergrin, with which he entered into a legitimate marriage in two years.

In 1751, the composer takes a proposal from Anthreplener Giovanni Locatelli to become a drop-maker his troupe, and, in addition, receives an order for the creation of a new Opera "Ezio". After setting this musical performance in Prague, Glitch goes to Naples in 1752, where soon the premiere of the next new glitch "Mercy of Tita" successfully passed the premiere of the next new Opera.

Vienna

The changed marital status forced Christoph to think about the permanent place of residence and, undoubtedly, the choice fell on Vienna - the city with which the composer connected a lot. In 1752, the Austrian capital accepted the glitch, then he was already a recognized master of the Italian opera - Seria, with a great welcome. After the Prince Josef Saxen-Guildbiggowansky, a big music lover, suggested a maestro to take the position of the Kappelmister, who is available at His Palace of the Orchestra, Christophe began to arrange the "Academy", so called the concerts, which soon became so popular that the most famous soloists and vocalists They considered honorable to receive an invitation to speak at such an event. In 1754, the composer took another solid position: the manager of the theaters of Vienna Count Gacomo Durazzzo appointed his dropletaster of the opera troupe in the court "burgteate".

The life of the glitch during this period was very tense: in addition to the active concert activity, he paid a lot of time to create new works, composing not only opera, but also theatrical and academic music. However, during this period, working intensively on operations-Seria, the composer began to be gradually disappointed in this genre. He was not satisfied with the fact that the music did not comply with dramatic action at all, but only helped to show the singers their vocal art. Such dissatisfaction forced the glitch to refer to other genres, for example, on the advice of Count Durazzo, who discovered several scenarios from Paris, he composed a number of French comic operas, as well as several ballets, among whom his famous Don Juan. This choreographic performance created by the composer in 1761 in the creative community with outstanding Italians - Librettist R. Falcabjji and the balletmaster of the city of Angerini, became the precursor of the subsequent transformations of the glitch in opera art. Already a year later, the premiere successfully passed in Vienna operas "Orpheus and Evridika", Which is still considered the best reform musical performance of the composer. The beginning of a new period in the development of the Music Theater Glitch confirmed by two more operas: Alcess, represented in the Austrian capital in 1767 and "Paris and Elena", written in 1770. Unfortunately, both of these opera proper recognition from the Viennese public did not find.

Paris and the last years of life

In 1773, Glitch took an invitation from his former student, Yuni Erzgertzogi Maria-Antoinette, who became the queen of France in 1770 and moved to Paris with pleasure. He felt that his transformations in opera art would be more appreciated in the French capital, which is at that time the center of advanced culture. The time spent in Gluck in Paris is noted as the period of its greatest creative activity. Already next 1774 in the theater, which today is referred to as the "Grand Opera", the premiere of the opera written in Paris "Iphigenia in Avlida" was successfully held. The formulation aroused a stormy controversy in the press between supporters and opponents of glukovskoy reform and ill-wishers even caused N. Picchinni from Italy - a talented composer of personifying the traditional opera. There was a confrontation, which lasted for almost five years and ending with the triumphal victory of glitch. The premiere of his opera "Iphigenia in Taurida" in 1779 passed with stunning success. However, in the same year, the state of the composer's health deteriorated sharply, and for this reason he returned to Vienna again, from which he no longer went to the end of his days and where he died in 1787 on November 15.

Interesting facts about Christof Willibald Glita

The merits of the glitch in the field of musical art are always charged. ERCGERSOGINA MARIA-ANTENETTTA, who became the queen of France, generously rewarded the composer for Opera "Orpheus and Eurydica" and "Iphigenia in Avlida": for each he received a gift for 20 thousand livres. And Mary-Antoinette's mother - Austrian Erzgezogy Mary Teresia, built a maestro to the title of "real imperial and royal composer" with the annual remuneration of 2 thousand guilders.

A special sign of high reverence of musical achievements of the composer was to dedication to the Knights and the presentation of the Order of the Golden Spur, by the Roman dad Benedict XIV. This award was given a glitch very difficult and connected with the order of the Roman Theater "Argentine". The composer wrote Opera "Antigona", which, fortunately for him, really liked the cracked public of the Italian capital. The result of such success and became a high award, after the possession of which the maestro began to call no other than the "Cavalier of Glitch".
His first literary composition dedicated to music and musicians, a wonderful German-romantic writer and composer Ernst Theodore Wilhelm Gofman did not accidentally give the name "Cavalier Glitch". This poetic story tells about an unknown German musician who seems to be a glitch and considers himself to be the keeper of the invaluable heritage of the great maestro. In the novel, he, as it were, is a living embodiment of the glitch, his genius and immortality.
Christophe Willibald Glitch left the descendants a rich creative heritage. He wrote works in various genres, but preference gave the Opera. Art historians are still arguing about how the number of the opera came out from under the composer's pen, but some sources indicate that there were more hundreds of them.
Giovanni Battista Locatelli - Entrepreneur, with a body of which glitch in 1751 he worked in Prague in Prague, there was a significant contribution to the formation of Russian musical culture. In 1757, arriving in St. Petersburg with his troupe at the invitation of Empress Elizabeth I, Locatelli began to organize theatrical ideas for the public and its approximated. And as a result of such activities, his troupe became part of Russian theaters.
During his touring tour to London, Glitch met with an outstanding English composer Handema, whose work was expressed with great admiration. However, the compositions of the glitch did not like the brilliant Englishman at all, and he disregarded his opinion about them at all stating that his cook was better than the glitch dismantled in counterpoint.
The glitch was a very gifted man who not only talentedly composed music, but also tried itself in the invention of musical instruments.

There is a fact that during the tour in Misty Albion, the composer at one of the concerts performed musical works on a glass harmonic of his own design. The tool was very peculiar, and his originality was that he was 26 glass, each of which was configured to a certain tone with a certain amount of water.
From the biography of the glitch we learn that Christoph was a very lucky person and and not only in creativity, but also in his personal life. In 1748, the composer who at the time was 34 years old, working in Vienna over the Opera "recognized Semiramid" met the daughter of a rich Viennese merchant, sixteen years Mariana Pergrin. A sincere feeling was originated between the composer and the girl, which was entrusted to the wedding held in September 1750. Marriage glitch and Marianna, despite the fact that they had no children, was very happy. A young wife, surrounding the spouse with love and care, accompanied him in all touring trips, and an impressive state inherited after the death of her father allowed the glitch to engage in creativity without thinking about material welfare.
Maestro had many disciples, but as the composer himself considered himself, the best of them was the famous Antonio Salieri.

Creativity glitch

All the creativity of the glitch played a very important role in the development of world opera art. In musical drama, he created a completely new style and introduced all his aesthetic ideals and forms of musical expression. It is believed that as a composer glitch began his career rather late: Maestro was twenty-seven years old when he wrote his first opera "Artaxerks". At this age, other musical writers (his contemporaries) have already managed to acquire fame in all European countries, however, then the glitch composed so much and diligently composed that he left a very rich creative heritage descendant. How much the opera wrote the composer, today no one can say anyone, the information is very different, but his German biographers offer us a list of 50 works.

In addition to the opera in the creative baggage of the composer, we meet 9 ballets, as well as instrumental works, such as a concert for flute, trio-sonatas for a duet of violins and bass, several small symphones that are more like an overture.

From the vocal works are the most popular, the work for the choir and orchestra "DE PROFUNDIS CLAMAVI", as well as the ODD and songs on the words of the contemporary composer, the popular poet F.G. Klopshtok.

Biographers glitch All the creative path of the composer shall be divided into three stages. First periodCalled by DorenaFormators, began with the writings in 1741 by Opera "Artaxerks" and lasted twenty years. From under the pen Glitka during this time, such works as "Demetri", "Demofont", "Tigran", "Virtue triumph triumphs and hatred", "Sophonizba", "Mimaja Slave", "Hypermert", "Poro" , "IPPOLIT". A significant part of the first musical performances of the composer were described on the texts of the famous Italian playwright Pietro Metastasio. In these works, all the talent of the composer has not yet been fully revealed, although they had great success in the audience. Unfortunately, the first operas of the glitch have not yet been fully preserved, and only small episodes reached us.

Next, the composer created many different operas, among which the works in the style of the Italian opera-Seria: "recognized semiramid", "Wedding of Hercules and Eubs", "Ezio", "Rattage of Gods", "Titz Mercy", "PSYPILE", "Chinese" , "Rural love", "justified innocence", "King-shepherd", "Antigone" and others. In addition, he gladly wrote music in the genre of the French musical comedy - these are musical performances "Merlin Island", "Monsive Slave", "Devilish Wedding", "Bepody Cyter", "Deceived Guardian", "Fixed Drunka", "Odohed Cadi "

According to the biography of glitch, the next stage of the creative path of the composer, which has the name "Vienna Reformer", continued to eight years: from 1762 to 1770. This period was very significant in the life of the glitch, as among the ten operas written by this time, he created the first reform operas: "Orpheus and Euridica," Alsesta and "Paris and Elena". The composer continued its opera transformations in the future, living and working in Paris. There, he wrote the last musical performances of "Iphigenment in Avlida", "Armida", "liberated by Jerusalem", "Iphigencies in Tavrid", "Echo and Narcissus".

Opera reform glitch

The glitch entered the world history of music as an outstanding composer, which in the XVIII century significant transformations in opera art, which had a great influence on the further development of the European Music Theater. The main provisions of its reform are reduced to the fact that all components of the opera play: solo singing, chorus, orchestra and ballet numbers must be interconnected and subordinate to a single plan, that is, as it can fully disclose the dramatic content of the work. The essence of the transformation was as follows:

To brighter to reveal the feelings and experiences of the heroes, music and poetry should be inextricably linked,
Aria is not a concert number in which the singer sought to show his vocal technique, but the embodiment of the feelings expressed and expressed in one way or another Drama hero. The technique of singing is natural, without virtuoso excesses.
Opera spectatives so that the action does not seem interrupted, should not be dry. The difference between them and arias must be made more relaxed
Overture is a prologue - preface to the action that will unfold on the scene. In it, a musical language should make an introductory overview of the content of the work.
The role of the orchestra is significantly increased. It is actively involved in the characteristics of heroes, as well as in the development of the entire action.
An active participant in the events that happen on the stage becomes a choir. It is like a voice of the people who react very sensitive to what happened.

Christophe Willibald von Glitch is an outstanding composer, which entered the history of world musical culture as a great opera reformer. Music written by a brilliant maestro two and a half years ago, and today captives students of an extraordinary hill and expressiveness, and its operas are included in the repertoire of the largest musical theaters around the world.

Video: Watch a film about Christope Glitka

Date of birth: July 2, 1714.
Date of death: November 15, 1787.
Place of birth: Erasbach, Bavaria.

Glitch Christoph Willibald. - Eminent composer, who worked in Austria. Also Christoph Glitch Known as a reformer of the Italian opera.

Christoph appeared on the light in Bavaria, in the Forester family. Since childhood, the boy fascinated music, but his father did not share this passion and did not allow the thought that his firstborn would become a musician.

The teenager completed training in the Jesuit Academy and left home. To seventeen years he reached Prague and was able to enter the university at the Faculty of Philosophy.

To earn money, was singing in the church, played a violin as part of mobile music groups. Nevertheless, he found time for music lessons, which he gave him a composer B. Chernogorsk.

After the completion of training, Christoph went to Vienna, and A. Melty was invited there to become a court musician at Chapel in Milan. Having left there, the young man received knowledge not only in the theory of composition, but also studied a lot of operas of the most outstanding masters of this genre. Soon Christoph himself created Opera, and she was put in Milan.

The premiere was successful, new orders followed and four more no less successful operas were written. Becoming successful, the composer went on tour to London, and then to Vienna.

Soon he decided to remain in Vienna and accepted the proposal of Prince Saxen -Hildburghausensky to become a dropmaster of his orchestra. Every week, this orchestra gave a concert on which the Saami was performed a variety of works.

Christoph, as a leader, sometimes became for the conductor console, sang, played on different tools. Soon the composer began to lead the court opera. He became one of its reformers and popularizers of the Opera French.

He was able to make a dramatically directed genre from the comedy genre. In addition, he taught the music of Erzgeljean Maria - Antoinette. When she married a French heir, he suggested both her teacher to move to Paris.

There he continued to put operas and create new ones. In Paris, he created his best work - "Iphigenia in Tavrid." After the premiere of the last opera of the composer, he had a stroke.

Two years later, another thing happened that he could not not affect the possibility of working.

Nevertheless, he created a small work that was fulfilled on his funeral day in 1787.

Achievements of Christoph Glitka:

The reformer of the Italian and French opera
Created about 50 operas
Author of a number of essays for the orchestra
Was the inspirer of Shumanan, Beethoven, Berlioz

Dates from the biography of Christoph Glitka:

1714 appeared on the light
1731 settled in Prague
1736 moved to Vienna
1741. The first setting of the opera in Italy
1745 Gastrol in London
1752 settled in Vienna
1756 received the Order of Golden Spurs
1779 A stroke happened
1787 died

Having had in addition to good vocal data, the glitch sang in the choir of the Cathedral of St. Yakuba and played in the orchestra under the control of the largest Czech composer and the musical theorist's theorist of Boguslav Chernogorsk, sometimes went to the surroundings of Prague, where he spoke in front of peasants and artisans.

Glitch paid attention to the attention of Prince Philip Von Lobkovitz and in 1735 he was invited to his Viennese House as a camera musician; Apparently, in the house of Lobkovitsa, it was heard by the Italian aristocrat A. Meltsi and invited to his private chapel, - in 1736 or in 1737, the glitch was in Milan. In Italy, at the homeland of the Opera, he got the opportunity to get acquainted with the work of the largest masters of this genre; At the same time, the composition studied under the guidance of Giovanni Sammartini, the composer is not so much opera, how much symphony; But it was under his leadership, as S. Khvityarev writes, the glitch mastered the "modest", but confident homophone writing, "the polyphonic tradition was still dominated in Vienna, the polyphonic tradition was still dominated.

In December 1741, premiere of the first opera Glitka - Opera-Series "Artaxerks" at the Libretto Pietro Metastasio took place in Milan. In the "Artaxerxa", as in all early Gluche's operations, it was also noticeable to imitate Sammartini, nevertheless he had a success, which was overlooking orders from different cities of Italy, and in the next four years, no less successful series operas were created. Demetrius "," Pores "," Demophon "," Hypermnester "and others.

In the autumn of 1745, the glitch went to London, from where he received an order for two operas, but in the spring of next year he left the English capital and joined the Mingotti brothers' Italian opera troupe, with which for five years toured in Europe. In 1751, in Prague, he left Mingotti for the sake of Kappelmister's post in Giovanni Locatelli troupe, and in December 1752 settled in Vienna. Becoming the Kappel Makester of the Orchestra Prince Joseph Saxen-Guildbighausensky, the glitch was led by his weekly concerts - "Academy", in which they performed both other eyepids and their own. According to the evidence of contemporaries, the glitch was and an outstanding opera conductor and well knew the characteristics of ballet art.

In search of a musical drama

In 1754, at the suggestion of the management of the Viennese theaters of Count J. Durazzo, the glitch was appointed a conductor and a composer of the court opera. In Vienna, gradually disappointed in the traditional Italian opera-series - "Opera-Aria", in which the beauty of the melody and singing acquired a self-sufficient nature, and composers often became hostages by the pleasure of Primadonn, - he turned to the French comic opera (Merlin Island, " Imaginary slave "," corrected drunkard "," fooled Cadi "and others) and even to ballet: created in the Commonwealth with choreographer G. Angerini Ballet-Pantomima" Don Juan "(on the play J.-B. Moliere), real choreographic Drama, became the first embodiment of the desire of the glitch to turn the opera scene into the dramatic.

In his quest, Gluca found support from the main intention of the opera of Count Durazzo and his compatriot of the poet and playwright Ranieri de Calcanjabji, who wrote the Libretto "Don Juan". The next step in the direction of the musical drama was their new joint work - Opera "Orpheus and Evridika", in the first edition staged in Vienna on October 5, 1762. Under the pen of Calchariji, an ancient Greek myth turned into an antique drama, in full compliance with the tastes of that time; However, neither in Vienna, nor in other cities of Europe, the Opera had success among the public.

The need to reform the opera-series, writes S. Khvityarev, dictated by objective signs of its crisis. At the same time, it was necessary to overcome the "century and incredibly strong tradition of the opera spectacle, a musical performance with a firmly established separation of the functions of poetry and music." In addition, the opera-series was characterized by static drama; The "theory of affects" was served by the "theory of affects", which was assumed for each emotional state - sadness, joy, wrath, etc. - the use of certain means of musical expressiveness established by theorists, and not allowed individualization of experiences. The transformation of stereotyped to the value criterion spawned in the first half of the XVIII century, on the one hand, the boundless number of operas, on the other - their very short life on the stage, on average from 3 to 5 views.

Glitch in his reform operas, writes S. Kvityrev, "Mold" Work "to the drama not in certain moments of the performance, which was often found in the modern opera, but on the whole world. Orchestral tools have acquired effectiveness, secret meaning, began to counter-by the development of events on the scene. Flexible, dynamic change of a cleattative, aria, ballet and choral episodes has developed into a musical and plot event that entails a direct emotional experience. "

Other composers were searched in this direction, including in the comic opera, Italian and French genre: this young genre has not yet managed to petrify, and to develop his healthy trends from the inside was easier than in the opera series. By order of the courtyard, the glitch continued to write operas in a traditional style, in general, preferring a comic opera. A new and more advanced embodiment of his dream about the musical drama was created in the Commonwealth from Falcabjji in 1767, the heroic Opera Alsesta, in the first edition, presented in Vienna on December 26 of the same year. Defining Opere Great Duke Tuscan, the future Emperor Leopold II, glitch in the preface to Alsesta wrote:

It seemed to me that the music should play in relation to the poetic work of the same role as the brightness of the paints play and the distributed lighting effects, animating figures, without changing their contours in relation to the drawing ... I sought to drive out all the excesses against which they protest from music Common sense and justice. I believed that Overture should highlight the audience and serve as an opening overview of the content: the instrumental part should be due to the interest and tension of situations ... All of my work was supposed to go to the search for noble simplicity, freedom from the disadvantage of difficulties to the detriment of clarity; The introduction of some new techniques seemed valuable to me, because it answered the situation. And finally, there is no such rule that I would not break the sake of achieving greater expressiveness. These are my principles.

Such a principle subordination of music poetic text for that time was revolutionary; In the desire to overcome the number structure, which is characteristic of the opera-series then, the glitch not only combined the episodes of the opera into large scenes, permeated with a single dramatic development, he tied to the action of opera and an overture, which at that time usually represented a separate concert number; For the sake of achieving greater expressiveness and drama, he increased the role of choir and orchestra. Neither "allesta" nor the third reform opera on the libretto of Falcabjji - "Paris and Elena" (1770) did not find support from the Vienna, nor from the Italian public.

The duties of glitch as a court composer consisted of music of the Mary-Antointetti and the Mary-Antoinette music; Becoming in April 1770, the wife of the heir to the French throne, Maria-Antoinette invited to Paris and Glitka. However, the decision of the composer to transfer its activities to the capital of France was significantly more influenced by other circumstances.

Glitch in Paris

In Paris, in the meantime, there was a struggle around the opera, which became the second act of extinguished in the 50s of the struggle between the adherents of the Italian opera ("buffonists") and French ("antibofonists"). This confrontation split even a crowned family: the French king Louis XVI preferred Italian opera, while his Austrian wife Maria Antoinette supported the National French. The split struck and the famous "Encyclopedia": Her editor d'Alber was one of the leaders of the "Italian Party", and many of her authors led by Voltaire and Rousseau actively supported French. The alien glitch very soon became the banner of the "French Party", and since the Italian troupe in Paris at the end of 1776 headed the famous and popular in those years in those years, the third act of this musical and public controversial was in history as a struggle between "glucists" and "Piccinists." In the struggle, which turned out as if around the styles, the dispute was actually about what the opera performance should be - just an opera, a luxurious spectacle with beautiful music and beautiful vocals, or something much greater: encyclopedists were waiting for a new social content, consonant Pre-revolutionary era. In the struggle of "glucists" with "picchinists", which 200 years later, already seemed to be a grandiose theatrical idea, as in the "War of Buffs", they entered the controversy, according to S. Khvetyreva, "Powerful cultural layers of aristocratic and democratic art".

In the early 70s, the reform opera glitch was unknown in Paris; In August 1772, the attache of the French Embassy in Vienna Francois Le Blanc du Rulle is attracted to them the attention of the public on the pages of the Paris magazine "Mercure de France". The path of glitch and Falcabjji diverged: with reorientation to Paris, Du Rulle became the main librettist of the reformer; In the Commonwealth, the Operation of "Iphigenia in Avlude" was written to the French public (based on the tragedy of J. Rasin), supplied in Paris on April 19, 1774. Success fastened, although it caused fierce disputes, a new, French version of "Orpheus and Euridiki".

Recognition in Paris has not been left unnoticed in Vienna: if Maria Antoinette complained a glitch for "IFIGNATION" 20,000 livres and as much as "Orpheus", Mary Teresia on October 18, 1774, in absentia by the glitch of the title of "real imperial and royal court composer" with annual salary in 2000 guilders. Thanked for the honored glyc after a short stay in Vienna returned to France, where in early 1775 a new edition of his comic opera "Enchanted tree, or a deceived guardian" was set (written back in 1759), and in April, in the Royal Academy Music, - a new edition of Alsesta.

Parisian Music historians are considered the most significant in the work of the glitch. The struggle between "glucists" and "picchinists", with the inevitability of composers turned into the inevitability (which, however, did not affect their relationships), it was with varying success; By the mid-1970s and the "French Party" split into adherents of the traditional French opera (J. B. Lully and J. F. Ramo), on the one hand, and the new French opera Glitka - on the other. Oily or unwittingly glitch himself challenged the traditionalists, using the Libretto for his heroic opera, written by F. Cinema (on the poem of T. Tasso "liberated by Jerusalem") for the Opera Dully. "Armida", the premiere of which was held at the Royal Academy of Music on September 23, 1777, apparently, was so differently perceived by representatives of various "parties", which and 200 years later, they talked about "huge success", others - about "failure "

And nevertheless, this struggle ended with the victory of glitch, when on May 18, 1779, his Operations in Taurida was presented at the Royal Academy of Music (on the Libretto N. Gniyar and L. Du Rulle, based on the tragedy of Euripid), which many people consider Best composer opera. Niccolo Picchinni himself recognized the "musical revolution" glitch. Even earlier, J. A. Hudon pledged the White Bust of the composer with the inscription in Latin: "Musas Praeposuit Sirenis" ("He preferred to Siren Muz"), - In 1778, this bust was installed in the lobby of the Royal Academy of Music next to Kully busts and Ramo.

Last years

On September 24, 1779, the premiere of the last opera of glitch was held in Paris - "Echo and Narcissus"; However, even earlier, in July, the composer struck the stroke turned into partial paralysis. In the autumn of the same year, the glitch returned to Vienna, which he no longer left: the new attack of the disease happened in June 1781.

During this period, the composer continued to be launched in 1773 work on sides and songs for voice and piano on the verses of F. G. Klopshtok (Him. Klopstocks Oden Und Lieder Beim Clavier Zu Singen in Musik Gesetzt ), I dreamed of creating a German national opera to the plot of Klopshtchok "Battle of Armin", but these plans were not destined to realize. Singing fast care, approximately in 1782, the glitch wrote "de profundis" - a small essay for a four-voice choir and orchestra on the text of the 129th Psalm, which on November 17, 1787 at the funeral of the composer was performed by his student and follower Antonio Salieri. On November 14 and 15, the glitch survived three more apoplexic strikes; He died on November 15, 1787 and was originally buried at the Church Cemetery of the suburb of Matzalinsdorf; In 1890, his dust was transferred to the Central Cemetery of Vienna.

Creation

Christophe Willibald Glitch was a composer mainly opened, but the exact number of operas belonging to it is not established: on the one hand, some essays are not preserved, on the other - the glitch repeatedly reworked his own operas. "Music Encyclopedia" calls the figure 107, while only 46 operas lists.

At the end of his life, Gluck said that "Only a foreigner Salieri admired his manners from him," For no German did not want to study them. "; Nevertheless, he had a lot of followers in different countries, of whom each of his principles used his principles in his own creativity, "in addition to Antonio Salieri, it is primarily Luigi Cherubini, Gaspare Spontini and L. Van Beethoven, and later Hector Berlioz, who called Glitka "Eschil Music"; At the nearest followers, the influence of the composer is sometimes noticeable and outside of opera creativity, like Beethoven, Berliosis and Franz Schubert. As for the creative ideas of the glitch, they determined the further development of the Opera House, in the XIX century there was no major opera composer, which would be more or lesser by the influence of these ideas; Another opera reformer - Richard Wagner appeared to the glitch - Richard Wagner, which half a century later collided on the opera stage with the same "costume concert", against which the reform of the glitch was directed. The ideas of the composer were not alien to the Russian Opera Cutter - from Mikhail Glinka to Alexander Serov.

The glitch also owns a number of essays for the orchestra - symphony or an overture (in the time of youth of the composer, the distinction between these genres was still not enough), a concert for the flute with the orchestra (G-DUR), 6 trio-sonatas for 2 violins and bass-written genera Back in the 40s. In the Commonwealth with the city of Angerini, except Don Juan, the glitch created three more ballets: "Alexander" (1765), as well as "Semiramid" (1765) and "Chinese orphan" - both tragedies of Voltaire.

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Notes

, from. 466.
, from. 40.
, from. 244.
, from. 41.
, from. 42-43.
, from. 1021.
, from. 43-44.
, from. 467.
, from. 1020.
, from. Chapter 11.
, from. 1018-1019.
Gozenpud A. A. Opera dictionary. - m.-L. : Music, 1965. - P. 290-292. - 482 p.
, from. 10.
Rosshild K. K. Affects Theory // Music Encyclopedia (Ed. Yu. V. Keldysh). - m .: Soviet encyclopedia, 1973. - T. 1.
, from. 13.
, from. 12.
Gozenpud A. A. Opera dictionary. - m.-L. : Music, 1965. - P. 16-17. - 482 p.
Cyt. By: Gozenpud A. A. Decree. cit., s. sixteen
, from. 1018.
, from. 77.
, from. 163-168.
, from. 1019.
, from. 6, 12-13.
, from. 48-49.
, from. 82-83.
, from. 23.
, from. 84.
, from. 79, 84-85.
, from. 84-85.
. Ch. W. Gluck. Gluck-GesamTausGabe. Forschungsstelle Salzburg. Checked on December 30, 2015.
, from. 1018, 1022.
Codov E. . Belcanto.ru. Checked February 15, 2013.
, from. 107.
. INTERNATIONALE GLUCK-GESELLSCHAFT. Checked on December 30, 2015.
, from. 108.
, from. 22.
, from. sixteen.
, from. 1022.

Literature

Marcus S. A. Glitch K.V. // Music Encyclopedia / Ed. Yu. V. Keldysh. - m .: Soviet encyclopedia, 1973. - T. 1. - S. 1018-1024.
Knightrev S. Christoph Willibald Glitch. - M.: Music, 1987.
Kirillina L. V. Reformed opera glitch. - m .: Classic-XXI, 2006. - 384 p. - ISBN 5-89817-152-5.
Konen V.D. Theater and symphony. - M.: Music, 1975. - 376 p.
Braudo E. M. Chapter 21 // Universal Music History. - m., 1930. - T. 2. From early 17 to mid-19 centuries.
Balashsha I., Gal D. Sh. Travel Guide for Operas: in 4 volumes. - m.: Soviet Sport, 1993. - T. 1.
BAMBERG F. (it.) // Allgemeine Deutsche Biographie. - 1879. - BD. nine . - S. 244-253.
Schmid H. (it.) // Neue Deutsche Biographie. - 1964. - BD. 6. - S. 466-469.
Einstein A. Gluck: Sein Leben - Seine Werke. - Zürich; Stuttgart: Pan-Verlag, 1954. - 315 p.
GROUT D. J., Williams H. W. The Operas of Gluck // A Short History of Opera. - Columbia University Press, 2003. - P. 253-271. - 1030 p. - ISBN 9780231119580.
Lippman E. A. Operatic Aesthetics // a History of Western Musical Aesthetics. - University of Nebraska Press, 1992. - P. 137-202. - 536 p. - ISBN 0-8032-2863-5.

Excerpt that characterizes glitch, Christoph Willibald

- The Sacrament, Mother, Great, - answered a spiritual person, holding a hand in Lysin, on which several strands of combed half-headed hair ran.
- Who is who? The commander-in-chief himself was? - asked in the other end of the room. - What a daily! ...
- And the seventh tenth! What, they say, the count will not know? Want to bind?
- I knew one: seven times bored.
The second princess only came out of the room of a patient with crying eyes and village of Dr. Lorrene, who was sitting under the portrait of Catherine in a graceful pose, clinging to the table.
"Tres Beau," said the doctor, answering the question about the weather, - Tres Beau, Princesse, Et Puis, A Moscou on SE Croit A La Campagne. [Beautiful weather, Princess, and then Moscow looks like a village.]
- N "EST CE PAS? [Isn't it?]" Said Princess, sighing. - So you can drink it?
Lorren wondered.
- He accepted the medicine?
- Yes.
Doctor looked at Breget.
- Take a glass of boiled water and put the UNE PINCEE (he showed it with her thin fingers, what does UNE PINCEE mean) de CremortArtari ... [pinch of the CusortarTar ...]
"I didn't drink," the German doctor said the doctor's adjutant, "Siva remained that from the third strike.
- And what a fresh man was! - said adjutant. - And who will go this wealth? - he added to the shop.
"Ochker will find," smiling, the German answered.
Everyone looked at the door again: she creaked, and the second princess, making a drink shown by Lorren, suffered his patient. The German doctor approached Laurent.
- Also, maybe it will take it until tomorrow morning? - the German asked, shouting on French.
Lorren, pursing her lips, strictly and adversely waved his finger in front of his nose.
"Today night, not later," he said quietly, with a decent smile of complacency in what is clearly able to understand and express the position of the patient, and moved.

Meanwhile, Prince Vasily took the door to the room princed.
The room was sexually; Only two lamps were burning in front of the images, and well smelled smoky and flowers. The whole room was installed finely furnished with wardrifiers, husks, tables. Because of the Shirm, white covers were visible with a high fluff bed. Dog laying.
- Ah, are you, MON COUSIN?
She got up and recovered the hair that she always had, even now, were so unusually smoking, as if they were made of one piece with her head and covered with varnish.
- What happened something? She asked. - I was already frightened.
- nothing, all the same; I just came to talk to you, Katiut, about the case, "the prince said, tiredly sitting on the chair from which she got up. "As you heard, however," he said, "well, sit here, Causons." [Talk.]
- I thought whether it did not happen? - said Princess and with her unchanged, the strict expression of the face of the face against the prince, getting ready to listen.
- I wanted to sleep, Mon Cousin, and I can not.
- Well, what, my sweet? - said Prince Vasily, taking the hand of the princes and bending her in his habit of the book.
It was seen that it was "Well, that" belonged to a lot that, without calling, they understood both.
Princess, with his own, with his long legs, dry and straight waist, directly and impassively looked at the prince with convex gray eyes. She shook her head and, having sigh, looked at the image. Her gesture could be explained by both the expression of sadness and devotion, and as an expression of fatigue and hope for a quick vacation. Prince Vasily explained this gesture as an expression of fatigue.
"And me," he said, "do you think, easier?" JE SUIS EREINTE, COMME UN CHEVAL DE POSTE; [I am frowning as a postal horse;] And yet I need to talk to you, Katich, and very seriously.
Prince Vasily was silent, and his cheeks began to nervously twitch on one, then on the other side, giving him an unpleasant expression, which was never shown on the face of Prince Vasily, when he was in the living rooms. His eyes were also not like that, as always: they looked brazenly jokingly, they looked around frightly.
Princess, with her dry, hook hands holding a dog on his knees, carefully looked into the eyes of the prince Vasily; But it was clear that she would not interrupt silence with a question, at least she had to be silent until the morning.
"You see, my dear princess and cousin, Katerina Semenovna," Prince of Vasily continued, apparently, not without an inner struggle starting to continue his speech, "at such moments, as it should be thought about. We need to think about the future, about you ... I love you all, like your children, you know it.
Princess as dull and motionless looked at him.
- Finally, you need to think about my family, - angrily pushing a table from myself and without looking at her, continued the prince of Vasily, - you know, Katiut that you, three sisters of Mammoth, and still my wife, we are alone direct Graph. I know, I know how hard you talk and think about such things. And it is not easier for me; But, my friend, I am a sixth ten, you have to be ready. Do you know what I sent for Pierre, and that the count, straight pointing to his portrait, demanded him to himself?
Prince Vasily looked questioningly to the princess, but could not understand whether she wondered what he said to her, or just looked at him ...
- I never cease to pray to God, Mon Cousin, - she answered, - so that he pardon him and gave him a wonderful soul to calmly leave this ...
- Yes, it is so, - the prince of Vasily continued impatiently, rubbing Lysin and again with anger, putting a stunned table with an angry, - but finally ... Finally, you herself know that in the winter, the count wrote the will, for which he is all , in addition to direct heirs and us, gave Pierra.
- Little he wrote his wills! - Quietly said Princess. - But Pierre he could not bequeath. Pierre illegal.
"Ma Chere" suddenly said the Prince of Vasily, pressing the table to himself, revived and starting to speak soon, "but what, if the letter written is written, and the count is asked to adopt Pierre? You understand, according to the accruitance of the graph, his request will be respected ...
Princess smiled, how do people smile who think that they know more than those who are talking to.
"I'll tell you more," Prince of Vasily continued, grabbing her hand, "the letter was written, although it was not sent, and the sovereign knew about him. The only question is whether it was destroyed, or not. If there is no, then how soon it will end, "the prince of Vasily sighed, giving it to understand that he understood everything will end," and reveal the paper of the graph, the testament with the letter will be transferred to the sovereign, and the request will probably be respected. Pierre, as a legitimate son, will get everything.
- And our part? - asked Princess, ironically smiling as if everything, but not it could happen, could happen.
- Mais, Ma Pauvre Catiche, C "Est Clair, Comme Le Jour. [But, my dear Katich, it's clear how day.] He is the rightful heir to all, and you will not get it. You should know my Cute, whether a testament and letter were written, and whether they were destroyed. And for some reason they are forgotten, then you should know where they are, and find them, because ...
- It only lacked! - interrupted his princess, sardonically smiling and without changing the expression of the eyes. - I am a woman; In your opinion we are all stupid; But I know so much that the illegal son cannot inherit ... Un Batard, [illegal,] - she added, believing this translation to finally show the prince of his unperative.
- How do you not understand, finally, roll! You're so smart: As you do not understand, - if the count wrote a letter to the sovereign, in which he asks him to recognize his son legitimate, began to be, Pierre will not be not Pierre, and Count Duchery, and then he will receive everything in the will? And if the testament with the letter was not destroyed, then you, in addition to the consolation, that you were a virtuous ET TUT CE Qui S "EN SUIT, [and everything that follows,]] Nothing will remain. That's right.
- I know that the testament is written; But I also know that it is invalid, and you seem to me, you think for the perfect fool, Mon Cousin, "said Princess with the expression with whom women say, believing that they said something witty and offensive.
"Cute you are my princess Katerina Semenovna," Prince of Vasily spoke impatiently. - I came to you not in order to reconcile with you, and so that both with my native, good, good, true native, talk about your and interest. I tell you the tenth time, which if the letter to the sovereign and the will in favor of Pierre is in the papers of the graph, then you, my ballob, and sisters, not the heiress. If you do not believe me, then believe people knowing: I have now spoke with Dmitry Onufriah (it was a lawyer at home), he said the same.
Apparently, something suddenly changed in the thoughts of Princess; The thin lips pale (the eyes remained the same), and the voice, while she spoke, broke through such risks, what she apparently did not expect himself.
"That would be good," she said. - I did not want anything and do not want.
She dropped her dog from his knees and recovered the folds of the dress.
"That's gratitude, here's appreciation to people who donated to him for him," she said. - Perfectly! Very good! I don't need anything, the prince.
"Yes, but you are not alone, you have sisters," Prince Vasily replied.
But the princess did not listen to him.
- Yes, I knew it for a long time, but I forgot that, besides the lowestness, deception, envy, intrigue, except for ungratefulness, the most black ungratefulness, I could not expect anything in this house ...
- Do you know or do not know where it is a testament? - The prince of Vasily asked with more than before, twitching the cheeks.
"Yes, I was stupid, I still believed in people and loved them and sacrificed." And only those who are influx and dutches have been doing. I know whose intrigues are.
Princess wanted to get up, but the prince kept her hand. Princess had the kind of man, suddenly disappointed in all human genus; She watched viciously on his interlocutor.
- There is still time, my friend. You remember, Katich that all this was inadvertently, per minute of anger, illness, and then forgotten. Our duty, my sweetheart, fix his mistake, facilitate his last minutes in order to prevent him from making this injustice, not to give him to die in the thoughts that he made unfortunate those people ...
"Those people who donated to him for him," Princess picked up, rummaged again, but the prince did not let her go, "which he never knew how to appreciate." No, Mon Cousin, she added with a sigh, "I will remember that in this world you can not wait for the award that there is no honor or justice in this world. On this light you have to be tricky and evil.
- Well, Voyons, [Listen,] Calm down; I know your beautiful heart.
- No, I have an evil heart.
"I know your heart," the prince repeated, "I appreciate your friendship and walked you to be about me the same opinion." Calm down and Parlons Raison, [Let's really talk,] while there is time - maybe a day, maybe an hour; Tell me everything you know about the testament, and, most importantly, where it is: you should know. Now we will take it and show the count. He, right, forgot already about him and wants to destroy it. You understand that my one desire is to fulfill His will; I only came here. I'm here only then to help him and you.
- Now I understood everything. I know whose intrigues are. I know, "said Princess.
- He is the point, my soul.
- This is your protegee, [Favorite,] Your cute princess Drubetskaya, Anna Mikhailovna, which I would not want to have a maid, this vile, naughty woman.
- Ne Perdons Point De Temps. [Let's not waste time.]
- AX, do not say! By last winter, she lasted here and such nasty, such brands talked to the count on all of us, especially Sophie, - I can't repeat - that the count became sick and two weeks did not want to see us. At this time, I know that he wrote this naughty, frustrated paper; But I thought this paper does not mean anything.
- Nous at Voila, [This is the case.] Why did you say anything before me?
- In the mosaic portfolio, which he holds under the pillow. Now I know, "said Princess, not answering. "Yes, if there is a sin for me, a lot of sin, then it is hatred for this dressing," the princess was almost shouted, completely changed. - And why is she rubbing here? But I will express everything, everything. The time will come!

While such conversations occurred in the reception room and in the princess rooms, the carriage with Pierre (for which it was sent) and with Anna Mikhailovna (which I found it necessary to go with him) went to the courtyard of the Count of Laughty. When the wheels of the carriage gently sounded along the straw, near the windows, Anna Mikhailovna, contacting his companion with consolation words, was convinced that he was sleeping in the corner of the carriage, and woke it up. Waking up, Pierre for Anna Mikhailovna came out of the carriage and then just thought about the date with a dying father, which he expected. He noticed that they arrived not to the parade, but to the rear entrance. While he went with the footsteps, two people in burghers hurriedly rolled out from the entrance to the shadow of the wall. Posted by, Pierre saw in the shade of the house on both sides, a few of the same people. But neither Anna Mikhailovna nor Laki, nor a kucher who could not see these people did not pay attention to them. Therefore, it was so necessary, I decided to Pierre himself and passed behind Anna Mikhailovna. Anna Mikhailovna hurried steps went up the weakly lit by a narrow stone staircase, calling up the Pierre labored behind her, who, although he did not understand why he had to go to the count at all, and even less, why did he need to go on the rear stairs, but , judging by the confidence and hasty, Anna Mikhailovna, decided to himself that it was necessary. On the half of the stairs, they almost shot down them from the legs of some people with buckets, which, stued boots, ran to meet them. These people pressed against the wall to skip Pierre with Anna Mikhailovna, and did not show the slightest surprise at the sight of them.
- Here on half princed? - asked Anna Mikhailovna one of them ...
"Here," Lackey answered a bold, loud voice, as if everything was already possible, "the door to the left, Mother.
"Maybe the count did not call me," said Pierre while he went to the platform, "I would go to myself."
Anna Mikhailovna stopped to porrify with Pierre.
- AH, MON AMI! She said with the same gesture as in the morning with her son, fading to his hand: - Croayez, Que Je Souffre Autant, Que Vous, Mais Soyez Homme. [Believe me, I suffer from no less than you, but be a man.]
- Right, I will go? - asked Pierre, affectionately through glasses looking at Anna Mikhailovna.
- AH, MON AMI, OUBLIEZ LES TORTS QU "ON AVO AVOIR ENVERS VOUS, PENSEZ QUE C" EST VOTRE PERE ... PEUT ETRE AL "AGONIE. - She sighed. - Je Vous Ai Tout De Suite Aime Comme Mon Fils. Fiez Vous A Moi, Pierre. Je N "Oublirai Pas Vos Interets. [Forget, my friend, what they were against you. Remember that this is your father ... maybe in agony. I immediately loved you like a son. Trust me, Pierre. I will not forget your interests.]
Pierre did not understand anything; Again, it seemed to him even more that all this should be so, and he submolded followed Anna Mikhailovna, already dismissed the door.
The door went to the front reverse. In the corner sat an old man of servant Princed and knit stocking. Pierre was never at this half, did not even assume the existence of such chambers. Anna Mikhailovna asked to overthrow them, with a decanter on a tray, girls (calling her cute and bluebush) about the health printed and entailed Pierre on the stone corridor. From the corridor, the first door left to the residential rooms are printed. The maid, with a decanter, the hurry (as well as everything was done in this minute) did not get the door, and Pierre with Anna Mikhailovna, passing by, unwittingly looked into the room, where, talking, was sitting close to each other. Senior Princess Prince Vasill. Seeing passing, Prince Vasily made an impatient movement and leaned back; Princess jumped up and desperate gesture struck the door, shutting it.
This gesture was so much similar to the last calmness of Princess, the fear, expressed on the face of Prince Vasilla, was so unusual for his importance that Pierre, who stopped, questioningly, through glasses, looked at her head.
Anna Mikhailovna did not express surprise, she just smiled slightly and sighed, as if showing that she was expected.
- Soyez Homme, MON AMI, C "EST MOI QUI Veillerai a Vos Interets, [Be Men, My friend, I will become obstacles for your interests.] - She said in response to his glance and rather went along the corridor.
Pierre did not understand what is the matter, and even less, which meant Veiller A Vos Interets, [Your interests are obstacles,] but he understood that all this should be. They came out the corridor into the semi-axle room, adjacent to the receiving graph. It was one of those cold and luxurious rooms who knew Pierre from the front porch. But in this room, in the middle, there was an empty bath and the water was spilled in the carpet. To meet them came on tiptoe, without paying attention to them, the servant and the student with cadyl. They entered the familiar Pierre reception with two Italian windows, access to the winter garden, with a large bust and in full height portrait of Catherine. All the same people, almost in the same positions, sat, whispering, in the reception. Everything, having wondered, looked back at Anna Mikhailovna who had entered Anna Mikhailovna, with her appointed, pale face, and in a thick, big Pierre, who, lowering his head, poundingly followed her.
On the face of Anna Mikhailovna, the consciousness was expressed that a decisive minute came; She, with the receptions of the business Petersburg lady, entered the room, not letting him from himself a Pierre, still bolder than in the morning. She felt that since she was following by the one who wanted to see the dying, the reception was provided. A rapid look of the loaf of all who were in the room, and noticing the graphic of the confessor, she, not something that bent, but was suddenly less than the growth, a little internship saved to the confessor and respectfully accepted the blessing of one, then another spiritual person.
"Thank God that we managed," she said to a spiritual person, "we are all native, so afraid." This young man is the son of the graph, she added quiet. - Awful minute!
Speak these words, she approached the doctor.
"Cher Docteur," she said to him, "CE Jeune Homme Est Le Fils du Comte ... Y a t il de l" Espoir? [This young man - son of a graph ... Is there hope?]
The doctor is silently, rapidly erected up the eye and shoulders. Anna Mikhailovna embarrassed the shoulders and eyes in exactly the same movement, almost closing them, sighed and moved away from the doctor to Pierre. She especially respectfully and gently sadly appealed to Pierre.
- Ayez Confiance EN SA Misericorde, [Trust His Mercy,] - She said to him, pointing to him a sofa to sit down her, herself fell asleep to the door, which everyone watched, and after a little heard sound, this door was missing for her.
Pierre, deciding in everything to obey his supervisor, headed for a sofa, which she pointed out. As soon as Anna Mikhailovna disappeared, he noticed that the views of all who were in the room, more than with curiosity and with participation rushed to him. He noticed that everyone was pulled out, pointing to him with his eyes, as if with fear and even with the subrange. He had a respect for which the lady unknown to him, who spoke with the spiritual persons, got up from her place and offered him to sit down, the adjutant raised the glove with Pierre and filed him; Doctors fell respectfully when he passed by them, and they were resurrected to give him a place. Pierre wanted to first sit at another place, so as not to put the lady, wanted to raise the glove and bypass the doctors who were not at all on the road; But he suddenly felt that it would be indecent, he felt that he had a face in the current night, which was obliged to commit some terrible and expected rite, and that therefore he had to receive from all services. He took silently a glove from the adjutant, sat down at the place of ladies, putting his big hands on symmetrically exhibited knees, in the naive posture of the Egyptian statue, and decided that all this should be that it should be that in this evening, in order not to To be lost and not to do nonsense, do not act in my reasons, and it is necessary to grant yourself quite on the will of those who led them.
There were no two minutes as Prince Vasily, in his cafetan with three stars, majestically, having a high head, entered the room. He seemed to lose weight in the morning; His eyes were more ordinary when he looked around the room and saw Pierre. He came up to him, took his hand (which he had never had ever done) and pulled her down the book, as if he wanted to try, whether she was holding hard.
- Courage, Courage, MON AMI. Il a demande a vous voir. C "EST BIEN ... [Do not lose heart, do not lose heart, my friend. He wished to see you. It's good ...] - And he wanted to go.
But Pierre's honorable need to ask:
- How is your health…
He jumped, not knowing, is it decently called the dying graph; To call the same father he was conscientious.
- IL A EU ENCORE UN COP, IL Y A UNE DEMI HEURE. There was still a blow. Courage, MON AMI ... [Half an hour ago he had a blow. Do not lose heart, my friend ...]
Pierre was in such a state of the ambiguity of thought that with the word "blow" he had a blow to some body. He, bewildered, looked at Prince Vasily and also realized that the disease was called a blow. Prince Vasily on the move said a few words Lorrane and passed the door on tiptoe. He did not know how to walk on tiptoe and embarrassing bouncing with all the body. Following him, the eldest princess passed, then the spiritual faces and trigteles were held, people (servants) also passed on the door. For this, the door heard moved, and finally, everything with the same pale, but firm in the execution of debt face, Anna Mikhailovna ran out, and, touched before Pierre, said:
- LA BONTE DIVINE EST INEPUISABLE. C "EST LA CEREMONIE DE L" EXTREME ONCTION QUI VA Commencer. Venez. [Mercy of God is inexhaustible. Cobbing will now begin. Come.]

K.V. Glitch - the Great Opera Composer, which carried out in the second half of the XVIII century. The reform of the Italian opera-Seria and the French lyrical tragedy. A large mythological opera who experienced the most acute crisis found in the work of the glitter of the quality of a genuine musical tragedy filled with strong passions, towering ethical ideals of loyalty, debt, readiness for self-sacrifice. The emergence of the first reform opera "Orpheus" preceded a long way - the struggle for the right to become a musician, travel, the development of various opera genres of that time. Glitch lived an amazing life, devoting himself entirely to the musical theater.

Gluck was born in the Forest family. The Father considered the profession of the musician by unworthy occupation and in every way prevented the musical hobbies of the Elder Son. Therefore, a teenager glitch leaves the house, wanders, dreams of getting a good education (by this time he graduated from the Jesuit College in Commota). In 1731, the glitch entered the University of Prague. A student of the Philosophy of the Faculty has a lot of time gave musical classes - she took lessons from the famous Czech composer Boguslav Chernogorsky, sang in the church of the Church of St. Yakov. Jewelery in the vicinity of Prague (glitch willingly played in the stray ensembles on the violin and especially his favorite cello) helped closer to get acquainted with Czech folk music.

In 1735, the glitch, which had already established a professional musician, rides in Vienna and enters the service in the chapel of the Lobkovitsa Count. Soon the Italian patron A. Meltsi offered a glitch place of the Cheri-Capella cameras in Milan. In Italy, the glitch path begins as an opera composer; He meets the work of the largest Italian masters, is engaged in the composition under the leadership of J. Sammartini. For almost 5 years, the preparatory stage continued; Only in December 1741 in Milan, the first Opera Glitka "Artaxerks" (Liber P. Metastasio) was successfully delivered. The glitch receives numerous orders from the theaters of Venice, Turin, Milan and for four years creates a few more operas-Seria (Demetriy, "Poro", "Demophon", "Hypermnester", etc.), which brought him fame and recognition from Enough sophisticated and demanding Italian public.

In 1745, the composer toured in London. The strongest impression was made on him the oratory of G. F. Handel. It is an elevated, monumental, heroic art has become an important creative guitance for glitch. Staying in England, as well as performances with the Italian opera troupe of the Mingotti brothers in the largest European capitals (Dresden, Vienna, Prague, Copenhagen) enriched the stock of the composer's musical impressions, helped tie an interesting creative contacts, closer to get acquainted with various opera schools. The recognition of the authority of the glitch in the musical world was his rewarding with a papal Order of Golden Spurs. "Cavalier Glitch" - this title has so fastened behind the composer. (We will remind you about the beautiful Novella T. A. Gofman "Cavalier Glitch".)

The new stage of life and creativity of the composer begins with moving to Vienna (1752), where the glitch soon took the post of conductor and the composer of the court opera, and in 1774 he received the title of "real imperial and royal court composer." Continuing to compose Opera-Seria, glitch turns to new genres. French comic operas ("Merlin Island", "Monsive Slave", "Corrected Drunka", "Fedochy Cadi" and others), written in the texts of famous French playwrights A. Lesaja, Sh. Favara and J. Saden, enriched the style of the composer with new Intonations, composite techniques, answered the needs of listeners in directly life, democratic art. Of great interest is the work of the glitch in the ballet genre. In collaboration with the talented Vienna choreographer, Angeolini, the ballet-pantomime "Don-Zhuan" was created. The novelty of this performance is a genuine choreographic drama - is determined in a large number of the character of the plot: not traditionally fabulous, allegorical, but deeply tragedy, acutely conflicting affecting the eternal problems of human existence. (Ballet scenario written on the play J. B. Moliere.)

The most important event in the creative evolution of the composer and in the musical life of Vienna was the premiere of the first reformist opera - "Orpheus" (1762), the ancient Greek myth about the legendary singer Glitch and R. Calckebiji (author of Libr., A like-minded person and a regular officer of the composer in Vienna) interpreted in the spirit Strict and sublime antique drama. The beauty of the art of Orpheus and the power of his love can overcome all obstacles - this eternal and always exciting idea underlies the opera, one of the most perfect composer's creations. In the arias of Orpheus, in the famous solo flutes, also known in numerous instrumental versions called "Melody", revealed the original melodic gift of the composer; And the scene in the Gate of Aida is the Dramatic match of Orpheus and Furion - remained a remarkable model of building a large opera form, which achieved the absolute unity of musical and scenic development.

For the "Orphem" followed by another 2 reformists - "Alsesta" (1767) and "Paris and Elena" (1770) (both on Liber. Calckejiji). In the preface to Alsesta, written on the occasion of initiation of the opera Duke Tuscan, glitch formulated the artistic principles that were guided in all creative activities. Having found due support from the Vienna and Italian public. Glitch goes to Paris. The years spent in the capital of France (1773-79) - the time of the highest creative activity of the composer. The glitch writes and puts new reform operas in the Royal Academy of Music - "IFIGNATIONS IN AVLIDE" (LBR. L. Du Rulle on the tragedy of J. Rasina, 1774), "Armida" (Liber F. F. Cinema for Poem T. Tasso "liberated by Jerusalem ", 1777)," Iphigencies in Taurida "(Liber. N. Gnockyra and L. Du Rulle on Drama De La Tsush, 1779)," Echo and Narcissus "(Libr. L. Chudi, 1779), recycles" Orphea "And" Alsesta ", consistent with the traditions of the French theater. The activity of the glitch stirred up the musical life of Paris, caused acute aesthetic discussions. On the side of the composer - French enlighteners, encyclopedists (D. Didro, J. Rousseau, J. D'Alber, M. Grimm), welcomed the birth of truly high heroic style in the opera; His opponents are adherents of the old French lyrical tragedy and opera-Seria. In an effort to shake the position of the glitch, they were invited to Paris an Italian composer N. Picchinni, who was confused at that time. The controversy between the supporters of the glitch and picchinni entered the history of the French opera called "War of Glucists and Pichchinnists". The composers themselves, belonged to each other with sincere sympathy, remained far from these "aesthetic battles".

In the last years of life, held in Vienna, Gluck dreamed of creating a German national opera to the plot of F. Klopshtok "Battle Hermann". However, severe illness and age prevented the implementation of this plan. During the funeral, Glucz in Vienna was fulfilled his last work "de profundls" ("From the abyss I call ...") for choir and orchestra. This peculiar requiem conducted a glitch's student - A. Salieri.

"Eshil Music" called the glitch passionate fan of his work of Berlioz. The style of musical tragedies of the glitch is the sublime beauty and the nobility of the images, impeccability of taste and the unity of the whole, the monumentality of the composition based on the interaction of solo and choral forms - goes back to the traditions of an ancient tragedy. Created in the era of the heyday of the educational movement on the eve of the Great French Revolution, they answered the needs of time in large heroic arts. So, Didro wrote shortly before the arrival of the glitch to Paris: "Let the genius appear, which will approve the genuine tragedy ... on the lyrical stage." Having settled to "be expelled from the opera all those bad excesses, against which for a long time, common sense and good taste protested," the glitch creates a performance in which all components of the drama are logically appropriate and perform certain, the necessary functions in the overall composition. "... I avoided to demonstrate the journey of spectacular difficulties to the detriment of clarity," said "Alsesta" dedication, - "And I did not give any price to open a new admission, if it did not flow out naturally from the situation and was not related to expressiveness." Thus, the choir and ballet becomes full participants of the action; Intonational expressive spectatatives are naturally merged with arias whose melodics are free from virtuoso style excesses; Overture anticipates the emotional system of future action; Relatively completed musical numbers are combined into large scenes, etc. Directed selection and concentration of means of musical and dramatic characteristics, strictly coented all links a large composition - these are the most important discoveries of glitch, which had a great importance for both opera drampecies and approval of the new, Symphony thinking. (The flourishing of the opera creativity of the glitch falls during the intensive development of large cyclic forms - symphonies, sonata, concept.) Senior contemporary I. Gaidna and V. A. Mozart, closely related to the musical life and artistic atmosphere of Vienna. Glitch, and in the warehouse of creative individuality, and in the general focus of the quest adjoins precisely to the Vienna Classical School. The traditions of the "high tragedy" glitch, the new principles of his drama received development in the opera art of the XIX century: in the works of L. Kerubini, L. Beethoven, Berlioz and R. Wagner; And in Russian music - M. Glinka, extremely highly appreciated glitch as the first among the opera composers of the XVIII century.

I. Ochalova

The son of hereditary forest, from an early age accompanies his father in his numerous moves. In 1731, he enters the University of Prague, where vocal art and play on various tools. Being in the service of Prince Meltsi, lives in Milan, takes the lessons of the composition of Sammartin and puts a number of operas. In 1745, in London, he meets Ghendel and Arn and comprises for the theater. After becoming a dropmaster of the Italian troupe, Mingotti, visits Hamburg, Dresden and other cities. In 1750, he marries Marianne Pergrin, the daughter of a rich Vienna Banker; In 1754, it becomes a dropletaster of the Vienna Court Opera and is among the surroundings of the Count Durazzo, who managed the theater. In 1762, the Opera Glitka "Orpheus and Evridika" was successfully put on Libretto Falcabiji. In 1774, after several financial failures, Maria Antoinetta follows (which he had a music teacher), which became the French Queen, in Paris and wins the favor of the public despite the resistance of piccinnists. However, the failure of the Opera and Narcissus opera (1779) leaves France and leaves to Vienna. In 1781, the composer splits paralysis, and it stops all activities.

The name of the glitch is identified in the history of music with the so-called Italian type musical drama reform, the only known and well-widespread in its time in Europe. It is considered not only a great musician, but first of all the Savior of the genre, distorted in the first half of the 18th century by virtuoso ornaments of singers and the rules of conditional based on the machinery, libretto. Nowadays, the position of the glitch no longer seems exceptional, since the composer was not the only creator of the reform, the need for which other opera composers and librettists, in particular Italian. In addition, the concept of the decline of the musical drama cannot relate to the vertex works of the genre, but except that there is some kind of substantive essays and innergrate authors (it is difficult to accuse such a master as Handel).

Be that as it may, the Calcabiji Librettist and other members of the surroundings of Count Jacomo Durazzo, the ruler of the Viennese Imperial theaters, the Glitch introduced a number of innovations into practice, which certainly led to major results in the field of musical theater. Calcanji recalled: "Mr. Gluck, who talked poorly in our language [that is, in Italian], it was impossible to reclaim poems. I read Him "Orpheus" and several times extended many fragments, emphasizing the shades of the declaignation, stopping, slowing down, lifting, the sounds are heavy, then smooth, which I wanted to use it in my composition. At the same time, I asked him to remove all the fiiorities, cadence , rhurneli and all the barbaric and extravagant, which penetrated our music. "

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