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| 克里斯托弗冯·格鲁克 （Christoph von Gluck,1714-1787） | |||||||||||||||||||||||
| Christoph Willibald Gluck 格鲁克 Melody 旋律 小提琴演奏 亚沙·海菲兹 | |||||||||||||||||||||||
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音乐历史上的今天
1787年11月15日，克里斯托弗·威利巴尔德·格鲁克因酒精中毒不治身亡。 |
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| 克里斯托弗冯·格鲁克 （Christoph von Gluck,） | |||||||||||||||||||||||
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格鲁克与莫扎特的相关性 1783年3月11日，格鲁克参加了莫扎特嫂子Aloysia Lange的音乐会。1783年3月23日，在伯格剧院的音乐会上，莫扎特用格鲁克的抒情调“Unser dummer Pobel meint”(Les hommes pieusement)演奏了变奏曲(K455)。 |
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Mozart Relevance Gluck had attended a concert by Mozart’s sister-in- law, Aloysia Lange, on 11 March 1783. In his own 23 March 1783 Burgtheater concert Mozart performed variations (K455) on Gluck’s aria ‘Unser dummer Pöbel meint’ (‘Les hommes pieusement’). |
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| 格鲁克在巴黎 | |||||||||||||||||||||||
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格鲁克在巴黎 世人公认格鲁克的事业巅峰是在巴黎，这不仅是因为他的歌剧改革是在巴黎有所成就，而且格鲁克也是在巴黎完成了自己的一生事业，当1779年他回到维也纳时已经是筋疲力尽，在巴黎他与反对派斗得实在是太累了。 格鲁克之所以会放弃在维也纳的生活前往巴黎，与一位叫法兰西斯?鲁莱特的人关系密切，1772年，鲁莱特先生是法国驻维也纳使团的大使随员。正是他将《伊菲姬妮在奥利德》的脚本教给了格鲁克，并且向格鲁克保证这部歌剧一定能够在巴黎上演。鲁莱特给格鲁克写了一封感人至深的信，格鲁克被鲁莱特所勾勒的美好前途吸引，以至于决心离开维也纳。其实，当时格鲁克在维也纳的日子还是挺好过的，他是维也纳的宫廷歌剧院布格剧院的委约作曲家，而经常与他合作的梅塔斯塔希奥也是维也纳宫廷最得宠的诗人。1748年，他们合作的《被认可的塞米拉米德》首演后得到了特蕾莎女王的赏识和信任，格鲁克原本可以在维也纳继续过自己逍遥快活的日子。 然而，格鲁克在维也纳开始的歌剧改革却让自己的日子变得难过起来，1762年，他的《奥菲欧与尤丽蒂茜》遭到了失败，被保守的维也纳观众嗤之以鼻。接着，《阿尔切斯特》再遭败绩，这让格鲁克感到灰心丧气，格鲁克这个人自视很高，难以容忍无端的批评，因此渐渐萌生去意。此外，格鲁克准备去巴黎还有一个重要的个人原因，就是他本人对法国文化有着一种向往与崇拜，这也是格鲁克在维也纳能够与宫廷剧院的经理贾科莫?杜拉兹和财政部官员、才华横溢的诗人卡尔扎比合作歌剧改革的原因所在。杜拉兹深受法国文化的熏陶，具有很高的艺术鉴赏力，而卡尔扎比崇拜法国文化（尤其是古典戏剧），思想开放，人以类聚，所以，他们才会成为同道中人。以上这些原因再加上鲁莱特的一番苦劝，终于使格鲁克下定决心离开维也纳前往自己神往已久的巴黎。 将意大利歌剧引入法国的是路易十四时代的宰相马萨林，他将意大利作曲家和歌唱家带到巴黎，并且试图用法国文化来影响意大利歌剧。但是，格鲁克的看法是，马萨林的试验是失败的，这主要在于马萨林依靠的主力军是意大利著名的布景设计大师贝纳洛提，意大利正歌剧的题材和创作手法加上路易十四喜欢的那些大而无当的奢华布景造就了法国歌剧的泡沫繁荣。然而，造价昂贵的布景和千篇一律的音乐却使巴黎的歌剧演出越来越萎缩，7年之中法国只上演了17部歌剧，意大利歌剧亟待改革。 但是，初到巴黎的格鲁克虽然踌躇满志，希望一展宏图，却并没有得到人们过多的关注，在巴黎他是个外国人，而且对于那些在宫廷里说话很有分量的意大利作曲家来说格鲁克也是个外来户，自然是受排挤的对象。幸好，一位重要的权贵人物在这时起到了至关重要的作用，此人便是前奥地利公主、现任法国国王路易十六的王后 玛丽?安东奈特。18世纪40年代围绕着查理六世去世后没有子嗣的问题，欧洲先后打了西班牙王位继承战争与奥地利王位继承战争，两次战争之后，法国与奥地利都元气大伤，相反，普鲁士却乘势崛起。为了共同抵抗普鲁士，法国和奥地利这两个历史上的老冤家宣布结盟，这种结盟以奥地利女王玛丽亚?特蕾莎的小女儿玛丽安东奈特出嫁法国王室为标志。1770年5月，安东奈特来到巴黎，与路易十六成婚，这位容貌出众的王太子妃（当时路易十六还没有登基）将自己高雅的艺术品味也带到了巴黎，使巴黎马上成为罗可可艺术的中心。 而安东奈特在宫廷内的音乐教师正好是格鲁克，王后对老师十分满意，她希望听格鲁克讲授演奏的要领，安东奈特对琉特琴演奏十分热衷，格鲁克则对这位年轻的学生呵护备至。安东奈特对格鲁克产生信任，除了因为格鲁克是同胞，更重要的是格鲁克也深得她的母亲特蕾莎女王的信任。安东奈特在凡尔赛和特里亚农宫内少有心腹，而作为政治联姻的一个重要棋子安东奈特的重要任务之一还要保持与祖国的联系，将巴黎的一切告知母亲。于是，格鲁克承担起了信使的责任，安东奈特经常让格鲁克往返于巴黎和维也纳之间传递书信，有时候这种信的内容是相当私密的，比如1778年2月13日，安东奈特让格鲁克给母亲特雷莎女王带去了这样的消息：“我亲爱的母亲：不知格鲁克能否在正常邮政之前到达，我让他带信给亲爱的母亲您，我的月经8号来了，提前了6天。”由此可见安东奈特是何等信任格鲁克。 格鲁克的尽心竭力并非没有回报，1774年，他写完了《伊菲姬妮在奥利德》（Iphigenie en Aulide），却遭到了巴黎音乐界的大肆刁难。幸好，玛丽?安东奈特出面向巴黎大歌剧院打招呼，总算歌剧院买她的面子，同意安排《伊菲姬妮在奥利德》的首演。1774年4月19日，《伊菲姬妮在奥利德》在巴黎首演，第二天玛丽?安东奈特就急急忙忙给维也纳写信说：“最后还是我胜利了！成功令人难以置信。”巴黎迅即掀起一股“伊菲姬妮热”，剧情和音乐都成为了上流社会沙龙里的时尚话题，安东奈特的御用理发师雷奥纳为皇后娘娘梳了一个半月形的头型，配以黑纱巾，这种头被巴黎的贵妇人们称“伊菲姬妮头”，一时间成为巴黎沙龙里的时髦玩意儿。 然而，这离事情的彻底解决和格鲁克的成功还差着十万八千里呢，评论家们依然不依不饶，他们对格鲁克的创作不屑一顾，他们认为格鲁克缺乏写咏叹调的才华，整部歌剧的音乐过于器乐化，没有一首朗朗上口的咏叹调。此外，人们对格鲁克写的伴奏宣叙调感到很不习惯，因为在意大利歌剧传统中宣叙调是不带伴奏的（称“干宣叙调”）。到格鲁克生活的时代，意大利歌剧已经到了完全僵化的地步，讲求严格的对称，规定每一部歌剧都有三对歌手，次序固定，每个人演唱的咏叹调的类型的长度也是固定的，所以，观众需要了解的就是剧情，因为音乐是不受情节影响的，反过来情节是适应音乐的特定格式的。对于写这些陈词滥调格鲁克早就没了兴趣，早在1764年，格鲁克就明确提出了自己的歌剧改革思想：比如“序曲应当告诉观众情节”、应当避免“过多的装饰音、利都奈罗和返始咏叹调”等等。总而言之，格鲁克认为歌剧的灵魂应当是戏剧本身，任何影响这个本质的东西，诸如大量无聊的陈词滥调和与剧情毫无关系的大段歌咏，都应当毫不留情地删去。 但是，格鲁克的这些思想却得不到人们的认可，在他所处的时代，这些现在我们看来再平常不过的事情却是动摇正统意大利歌剧根本的大事，评论家们和上流社会的观众最不适应的一点就是格鲁克的歌剧没有好听的咏叹调，旋律性不够是对他最多的批评。但是，格鲁克却不为所动，在《伊菲姬妮在奥利德》获得成功之后不久，格鲁克就开始着手改编《奥菲欧与尤丽蒂茜》和《阿尔切斯特》了，1775年8月2日，《奥菲欧与尤丽蒂茜》在巴黎上演，获得了比维也纳好得多的评价，巴黎人似乎比喜欢《伊菲姬妮在奥利德》更喜欢法国版的《奥菲欧与尤丽蒂茜》，这次胜利更加坚定了格鲁克歌剧改革的思想。格鲁克似乎尝到了甜头，接下来，他把目标转向了《阿尔切斯特》，打算如法炮制，将唱词翻译成法语，在歌剧里加入法国人趋之若鹜的芭蕾，主要角色从原来的阉伶换成巴黎人追捧的歌星等等。这个计划也受到了昔日的太子妃今日的法国皇后玛丽?安东奈特的支持，现在安东奈特的地位更加稳固也更为尊贵了，能够提供格鲁克的庇护也更多了。 但是，巴黎仍然不欢迎格鲁克，他在巴黎的朋友和敌人一样多，敌人们无时无刻不在注视着格鲁克，因为如果打倒了格鲁克那么对那个“外国女人”玛丽?安东奈特也是一次重大的打击，音乐批评在掺杂了诸多政治因素之后变得已经走了样。机会终于被他们等到了，格鲁克在创作新歌剧《罗兰》（Roland）的时候一度离开巴黎短期回维也纳接受玛丽亚?特蕾莎女王授予自己宫廷作曲家职位。他前脚刚走，敌对者们就四处活动让意大利作曲家皮钦尼（Niccolo Piccinni，1728-1800）根据同一题材也写一部歌剧。 对于格鲁克来说，这种卑劣行径让他感到愤怒，他从维也纳匆匆赶回马上发表了一封措辞尖锐的信，这下子，原来幕后的暗斗变成了现在台前的明争。天真的安东奈特马上被推到了风口浪尖，成为了格鲁克阵营的主帅，而马蒙泰尔等一批音乐界的老顽固与反对安东奈特的贵族们迅速接成一派，开始了旷日持久的论战。卢梭、伏尔泰也赶来凑热闹，巴黎大大小小的沙龙也分成许多派别，相互争论甚至谩骂，没过多久，整个巴黎的上流社会都被卷了进来。大大咧咧的巴黎人这回似乎非常认真，他们投入地写文章发表在各类杂志上，有时候说理不通就投入地吵架甚至动手，结果，很多沙龙就此解散，也成为了18世纪70年代末巴黎的独特一景。自从二十年前的那场“喜歌剧之争”后，如此大规模的文艺论战在巴黎已经很少见了，其实，巴黎人都有点瞎起劲，意大利歌剧的生死存亡或者兴衰荣辱与他们又有多少相干呢？作为当事人的格鲁克和皮钦尼也感到有些茫然，作曲家并不是思想家，他们也无意成为思想家，他们关心的问题只有一个，就是如何赢得观众。1777年，格鲁克准备创作歌剧《阿尔米德》，这下可让保守派们一片哗然，因为吕利曾经写过《阿尔米德》，法国人早已把这部歌剧看成是法国歌剧的典范（他们似乎忘记了，吕利也是外国人），如今格鲁克却如此大胆要重写这部作品。于是，批评、谣言纷纷而起，关键时刻，安东奈特又用自己的权威帮助了格鲁克，平息了一场又一场的争论，同年9月23日《阿尔米德》首演获得了成功。 虽然争论依然在继续，作为主人公之一的格鲁克却显得有些力不从心了，1779年9月24日《艾克与纳希斯》（Echo et Narcisse）在巴黎的首演，这次演出完全失败，格鲁克损失了一大笔钱，结果只能启程返回维也纳。当然，格鲁克并非破产才离开巴黎，他确实赚了一笔钱，而且依依惜别的安东奈特还为老师准备了一件礼物 每年支付格鲁克6000里弗的养老金，再加上哈布斯堡王朝宫廷付给他的御前作曲家工资，格鲁克可以在维也纳颐养天年了。巴黎的是是非非让格鲁克感到厌倦，他在格鲁克就在维也纳郊外一个叫佩屈托德霍夫的地方买了栋大房子，和老妻过起了悠闲自得好日子，再也没有作曲，也不愿与人谈及在巴黎的一切。不过，公正地看，如果没有在巴黎的歌剧改革实践，也不会有格鲁克在歌剧史上的应有地位，也就无从谈起对后世作曲家的深远影响了 |
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克里斯托夫·威利巴尔德·格鲁克在1726年由阿兰-雷内·勒西奇和路易·赫尔托·丹古修订的《Mecque的喜剧》(1726年)之后改编为剧本，由克里斯托夫·威利巴尔德·格鲁克创作的三幕歌剧喜剧。这部歌剧于1764年1月7日在维也纳的伯格剧院首演。在维也纳的卡尔恩特纳特剧院和1780年7月26日的伯格剧院上演了德语版的《永远的朝圣者》。就像莫扎特的《朝圣》一样，《麦加朝圣者》也是基于土耳其主题。点击这里查看1780年维也纳歌剧剧本。 Opéra comique in three acts by Christoph Willibald Gluck to a libretto after the opéra comique Les pèlerins de la Mecque (1726) by Alain-René Lesage and D’Orneval revised by Louis Hurtaut Dancourt. The opera had its premiere at the Burgtheater, Vienna, on 7 January 1764. A German-language version, Die unvermuthete Zusammenkunft oder Die Pilgrimme von Mecca, was given at the Kärntnertor Theater, Vienna, in 1776 and at the Burgtheater on 26 July 1780. Like Mozart’s Die Entführung aus dem Serail K384, The Pilgrim of Mecca is based on a Turkish theme. For the 1780 Vienna libretto, click here. |
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| 德国发行格鲁克纪念邮票 | |||||||||||||||||||||||
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Today in the
history of music On November 15, 1787, Christopher Willebar Gluck died of alcohol poisoning. Christophe Willebar Gluck was a German opera composer.Of Bohemian origin.In his early years, he created myth opera in Italian style.He moved to Vienna in 1750.In 1754, he became the music director of the Court Opera House and began to compose French comic operas.Later, he collaborated with The Italian poet Raniero da Calzabigi (1714-1795) to produce orfeo and Eurydisi, Alderst and Barrade and Alena in the opera reform with his scripts.In 1773 he went to Paris to continue his operatic reform.It holds that opera must have profound content, that music and drama must be unified, that expression should be natural and simple, and that the title overture is created, and that group dance scenes and chorus play an important role in opera.Her masterpieces include "Iphighini at Olide", "Iphighini at Tolide", "Almead" and so on. Christoph Willibald von Gluck (1714-1787) was a German composer who was born in Eresbach, eastern Bavaria, on June 2,1714.The father is a forest steward.He took a great interest in music at an early age.After running away from home, 1726 ~ 1732 in komodo (now part of the Czech republic) into the Church of Jesus school.A lutist in church.He studied music under Czech composer and organist Chernoholsky.After 1732, he studied music and philosophy and cello at the University of Prague.He went to Vienna in 1736 and joined Prince Melzi's private band.In 1737, he visited Milan with the Prince and learned composition with Italian composer Sammartini. In 1747, Gluck created his first opera, Atassels, which was performed successfully on December 26.By 1744, he went on to write seven operas in the prevailing Italian style.Famous all over the world. In 1745, he visited London with Prince Lobukowitz to compete with George Friedrich Handel. His Italian operatic style attracted Handel's attention, but at the same time, he was pointed out that he lacked polyphonic writing ability.This was inspired by Handel's oratorio style.Two more operas were made.Later, he became the conductor of mingotti touring Opera Troupe. After that, he performed in Hamburg, Dresden and Copenhagen for several years, and accumulated a lot of practical experience on the stage. He returned to Vienna in 1750 and became the court musician and opera conductor of the Habsburg Court in Vienna.In August 1750, Gluck married Maria Anna Perran.The girl's family was very rich. The father was a Viennese banker and businessman, and as he did not approve of his daughter's marriage, they had to wait until after his death for the wedding.Gluck relied on Perran's fortune for several years to lift him out of poverty.Gluck was knighted in 1754 by Pope Benedict XIV.He conducted the Vienna Opera under count Durazzo, who was in charge of arts and arts at the court.He visited Denmark, Prague, and Naples. While in Vienna, he was also influenced by the French Comic opera, which included singing and dancing, the latter of which, Don Juan (1761) is his representative work.In this work, he has gone against the flashy style of dance drama in the past and pursued the expression of genuine feeling.He began to reform opera and Italian poet Kazabiki cooperation, joint opera innovation attempt.The first masterpiece, Orfio and Eurydisi, premiered in Vienna in 1762.In succession since then for the al Curtis (1767), "Paris and Helen" (1770), such as opera, but not these two operas get has been widely accepted by the audience, and even, Luke's supporters for his reform is difficult to accept, they said: "no man is an opera soprano, a music without coloratura vowels, or rather no throat sound, a poem Italy didn't grandiose and frolic, this is the palace theater just reopened three wonders". In 1770 he resigned as artistic director of the Vienna Court Opera.In 1773, She went to Paris to try her luck. Marie Antoinette, then Queen of France, was the Princess of Austria. She had learned vocal music from Gluck in Vienna.After six months of rehearsal, first performed in Paris new opera "the Philippines JiNi in olivier DE", the show premiered in 1774 was a decisive success, since in sequence "with the ORR his dick in Europe" (1774), "al m da" (1777), "the Philippines JiNi reed in ceramics" (1779), etc., have caused a big stir: conservative respected Italian composer nicola pidgin, meantime, to the opera and opera against Luke reform, while progressives who embraced baruch, causing the history of the famous opera "case set Luke and pidgin's battle (Luke opera reform)".The Glucks won.In 1779, Gluck returned to Vienna and retired to a comfortable old age.He died of alcohol poisoning on November 15, 1787.Most of his works with simple and lofty melody and vivid sense of comedy, has become music and drama in the history of the masterpiece. Gluck's field of writing is dramatic music.He wrote more than 40 operas and 5 dance operas in his lifetime. His greatest artistic merit is the opera reform.Gluck's opera reform was inspired by the spirit of the Enlightenment.In the middle of the 18th century, although Italian opera was widely popular in Europe, its performance form became increasingly rigid, and the singers showed off their vocal singing skills too much, thus destroying the coherence of the drama.And become show off singing skills and luxurious scenes of the "masked concert."Musical forms also tend to be rigid.Gluck emphasizes nature and reality, pursues dramatic expression, and emphasizes characterization, emotion and environment.He reversed the unhealthy tendency of emphasizing music and ignoring words, and made the combination of lyrics and music closely, and fully paid attention to and gave play to the expressive connotation of lyrics.He improved the expressiveness of singing tunes and the role of chorus in the process of drama, and replaced the "dry recitation tone" with the accompaniment recitation tone, and replaced the formulaic orchestration and band passage with the stylistic orchestration and instrumental interlude.Gluck's emphasis on the overall conception of opera creation and his direct participation in the writing of opera scripts, which was rare at that time, had something to do with his pursuit of the high combination of music and drama.Gluck's opera reform in the direction of music and drama is an important milestone in the history of western opera development.His significance is by no means limited to the innovation of music creation and the development of music aesthetics. In fact, it is the expression of the struggle between the art thought and humanism thought of the emerging civil class and the feudal ruling class and their stubborn and conservative thoughts in the 18th century.Therefore, Gluck's opera reform made a great historical contribution to the development of opera art after getting rid of the shackles of feudalism. Gluck was a unique composer of Italian, French and German-Austrian styles.His works are known for their simplicity, elegance and gravitas.Gluck's opera reform had a significant impact on the development of music drama in France, Italy, Austria, Sweden and Britain, and was a milestone in the development of opera. Video of the day: 1. Asha Heifetz playing the Gluck Melody on the violin;2. Melody by Gluck and Chrysler;Gluck opera Alchester Venice, Italy Phoenix Opera |
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| 格鲁克-克莱斯勒《旋律》 | |||||||||||||||||||||||
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小提琴曲《旋律》选自德国作曲家克里斯托夫·格鲁克1761年创作的《奥菲欧与尤丽狄茜》第二幕第二场中的一段舞蹈音乐“精灵之舞”，由小提琴和长笛主奏，后由奥地利小提琴家克莱斯勒改编成小提琴独奏曲。 这是一首优雅略带伤感的舞曲，其主题缠绵幽婉，徐缓如歌，柔和的旋律透出淡淡的哀愁。主题过后有一段略带激动的旋律，仿佛奥菲欧和尤丽狄茜在相互倾诉无尽的思念和痛苦。 在克莱斯勒的改编版中，长笛演奏的旋律由小提琴独奏担任，原先由第一小提琴与第二小提琴演奏的十六分音符分解和弦由钢琴伴奏的右手承担，大提琴与低音提琴的低音则由钢琴的左手来演奏，乐曲总的织体仅在个别的和弦排列等方面有所微调。 |
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| 格鲁克歌剧《阿尔切斯特》意大利威尼斯凤凰歌剧院（2015）Alceste Christoph Willibald Gluck Teatro La Fenice | |||||||||||||||||||||||
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Christoph Willibald Gluck（克里斯托弗·威利巴尔德·格鲁克），德国歌剧作曲家。原籍波希米亚。早年创作意大利风格的神话歌剧。1750年起移居维也纳。1754年任宫廷歌剧院乐长，始作法国喜歌剧。后与意大利诗人卡尔萨比基(Raniero da Calzabigi, 1714—1795)合作，用其脚本作《奥菲欧与尤丽狄茜》、《阿尔切斯特》和《巴吕德与爱莱娜》，从事歌剧改革。1773年去巴黎，继续其歌剧改革事业。主张歌剧必须有深刻的内容，音乐与戏剧必须统一，表现应力求自然、纯朴，并创造了标题性序曲，又恢复群舞场面与合唱在歌剧中的重要地位。 《Alceste》是一个妻子的故事，她为拯救丈夫King Admète献出生命。格鲁克（Gluck）希望将歌剧回归其起源，专注于人类的故事和情感，并创作有深度的文字和音乐。作为巴洛克式和古典式之间的桥梁，格鲁克以朴素，真实和自然为主题。在对女性的理想化中，格鲁克更喜欢像阿尔切斯特（Alceste）或伊菲格尼亚（Iphigenia）这样的女性，美丽的女英雄为了别人而牺牲自己。 演员表： Marlin Miller 饰 Admeto, Carmela Remigio 饰 Alceste, Ludovico Furlani 饰 Eumelo, Anita Teodoro 饰 Aspasia. 乐团与合唱团： Orchestra e Coro del Teatro La Fenice. Tragedia lirica di Christoph Willibald Gluck. Lallestimento proposto, firmato da Pier Luigi Pizzi, è stato messo in scena dal Teatro La Fenice per il tricentenario della nascita del compositore. Sul podio il direttore Guillaume Tourniaire. Nel cast, Marlin Miller è Admeto, Carmela Remigio è Alceste, Ludovico Furlani è Eumelo, Anita Teodoro è Aspasia. Orchestra e Coro del Teatro La Fenice. Regia video Stéphane Vérité. |
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