Ausgewählte Aufsätze und Vorträge 1967-2002. Par CROLL GERHARD. / Livre / Divers

Tragédie-opéra Drame héroïque en trois actes-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 setThe revised editions are compatible with the old editionsT48Full score (BA2282-01) and vocal score (BA2282-90) available for salePerformance material (BA2282-72) available for hire

Par GLUCK CHRISTOPH WILLIBALD. / Classics / Date parution : 2020-10-15/ Répertoire / 4 Saxophones (Satb)

Christoph Willibald Gluck's Dance Of The Blessed Spirits from Orfeo ed Euridice Act II has been arranged for Flute or Violin with Piano accompaniment by Arthur Campbell.

Greg Anderson et Elizabeth Joy Roe sont peut-être le duo le plus excitant jeune fonctionne aujourd'hui, offrant des concerts de musique classique adrenalized qui révolutionnent l'expérience duo de piano pour le 21e siècle. Décrit comme 'Fred Astaire et Ginger Rogers transposée de la piste de danse au clavier' (La Presse Southampton) et 'la synchronisation intense de génie' (ThirdCoast Digest), Greg et Liz apporter leur camaraderie joyeuse et artistique raffiné à la scène de concert, l'admiration des spectateurs du monde entier comme une équipe à quatre mains et deux pianos.Le Duos Anderson and Roe and Duets série met en scène les arrangements inspirants interprétée par le duo --- à partir des paramètres de mélodies lyriques précieux aux pots-pourris de musique de film populaire. Les pièces sont éditées avec doigté et d'autres directions qui facilitent répétitions et des représentations, en les rendant accessibles pour faire avancer les étudiants ainsi que pour les concertistes.'Ballet' de Orfée et Eurydice est un chef-d'oeuvre enchanteur. Composé par précoce classique compositeur Christoph Willibald Gluck, sa mélodie envoûtante réflexion sur le mythe tragique grec d'Orphée et de sa tentative avortée de faire venir sa femme Eurydice d'entre les morts. La lenteur, l'arrangement lyrique pour un piano, quatre mains, nécessite juste équilibre entre la primo et secondo parties, ainsi que la chorégraphie délicate entre les mains des joueurs. / Piano 4 Mains

Les classiques de la flûte n°20 (transcr. Taffernel Gaubert Clerval)-The twentieth piece of the Flute Classics collection this edition of Orpheus Champs-Élysées Scene by Christoph Willibald Glück was transcribed by Paul Taffanel and Philippe Gaubert. This piece taken from the Champs-Élysées Scene (Acte II) in the Opera 'Orpheus And Eurydice' is divided into two main parts: Lento Dolcissimo and Piú Lento which are both repeated with the piece finishing on a Coda. This edition can be played by upper intermediate players or above and includes the scores for the Flute and for the Fluteand Piano. 'Orpheus And Eurydice' is the most famous work by Glück and is based on the myth of Orpheus.

French Operatic Arias. Par GLUCK CHRISTOPH WILLIBALD. 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./ Recueil / Baryton et Piano

for two Violins and Piano-A delightful arrangement for violin duet and piano of this well known piece from Glucks Orfeo.

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.

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

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).

Paris Version Of 1779. Par GLUCK CHRISTOPH WILLIBALD. Christoph Willibald Gluck's opera in four acts about the Curse of the House of Atreus is based on a tragedy by the classical Greek dramatist Euripides. The mythological plot about the siblings Iphigenia and Orestes is characterized by hatred, ritual sacrifice, and murder and was especially popular during the 18th century. The premiere of Gluck's opera in 1779 was immensely successful. Bärenreiter now presents a carefully edited and corrected piano reduction that was newly set to meet Bärenreiter's current quality standards. An informative preface (Ger/En/Fr) supplements the edition, which also includes all appendices of the score volume the edition is based on, as contained in the Gluck Complete Edition (GGA)./ Répertoire / Chant et Piano

This piece The Dance of the Blessed Spirits from Orfeo Ed Euridice has appeared in many popular arrangements and is perhaps one of Gluck's best-known pieces. It is arranged for Flute with a Piano Reduction of the original Orchestral score.