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tus, moved to pity by Eppouiua's devotion,
pardons Sabiuus. The characters are : Giu-
lio Sabiuo, Armiuio, Annio, Tito, Voadice,
Eppouiua. Although a work of the second
order, Giulio Sabiuo shows that Sarti was
possessed of considerable dramatic ability.
His work was given in other Italian cities
in 1782, and in London in 1785. The same
text has been set also by Cherubim, Lou-
don, 1786 ; and by Tarchi, Turin, 1791.
Larousse, xiv. 11 ; Burney, iv. 530.

GIURAMENTO, IL (The Oath), lyrical
drama in four acts, text by Rossi, music
by Mercadante, first represented at La
Scala, Milan, Dec. 26, 1837, and in Paris,
at the Theatre Italien, Nov. 22, 1858. The
libretto is an adaptation of Victor Hugo's




Marietta Brambilla.

drama, "Augelo, tyran de Padoue," but the
scene is changed to Syracuse, and other
concessions are made to the Italian taste.
It is one of the best of Mercadante'a
scores. It was sung at Milan by Carta-
genova, Pedrazzi, and Mmes Schoberlech-



153



GIUSTIXO



ner and Marietta Brambilla ; iu Paris by
Francesco and Lodovico Graziaiii, and
Mines Peuco and Alboni.

GIUSTINO (Justin), Italian opera in
three acts, test by Count Beregoni, music
by Handel, first represented at Covent Gar-
den Theatre, London, Feb. 16, 1737. The
MS., in Buckingham Palace, is dated at the
beginning August 14, 1736, and at the
end Oct. 20, 1736. The text was proba- 1
bly written for Venice, 1683. Characters
represented : Anastasio, Ariauua, Leocasta.
Ainanzio, Giustino, Vitaliano, Polidarte, La
Fortuua, Voce di deutro. It had only five
representations. Giustino, whose part was
sung by Gizziello, engages and slays a sea-
monster to the music of a descriptive sym-
phony, which was parodied l>y Carry in the
Dragon of Wantley. Originally published
by Walsh ; full score, Handelgesellschaft
(Leipsic, 1883). Sehojlcher, Handel, 185 ;
Roekstro, 192 ; Clirysandrr, ii. 397.

GIVE ME BACK MY DEAREST
MASTER. See Gebt mir meineu Jesum
wieder.

GLADLY WILL I, ALL RESIGNING.
Si < (li'i-iK- will ich mii-h bequenieu.

GLADSTONE, FIIAXCIS EDWARD,
born in Oxford, Eng-
land, March 2, 1845,
still living, 1889. Or-
ganist, pupil of S. S.
Wesley in 1859-64 ;
organist of Llandaff
tls60) and Chichester
(1870) Cathedrals,
lived in Brighton, 1X73
-76, and London, 1876
-77, then organist of Norwich Cathedral,
1877-81, and since of Christ Church, Lan-
caster Gate, London. Mus. Bac., Cam-
bridge, 1876 ; Mus. Doc., ib., 1879. Works
Cantatas : Nicodemus, London, 1880 ;
Philippi, 1882 ; Constance of Calais, 1884.
Church services ; Anthems ; Trio for piano-
forte, violin, and violoncello, 1876 ; Organ-
music ; A wet sheet and a flowing sea, cho-
rus with orchestra ; Songs.




GLASER, FRANZ, born at Ober-Geor-
geuthal, Bohemia, April 19, 1798, died iu
Copenhagen, Aug. 30 (or 29 ?), 1861. Dra-
matic composer, pupil in singing, while a
choir-boy in the court chapel at Dresden,
of Mieksch ; at the Prague Couservatorium
of Pixis on the violin ; and in Vienna of
Heydenreich iu counterpoint. He became
Kapellmeister of the Josephstiidter Theater,
Vienna, in 1817 ; of the Konigstadtisches
Theater, Berlin, in 1830 ; and was appointed
royal Kapellmeister iu Copenhagen in 1842.
Works Operas : Der Brief an sich selbst,
Sauertopfchen, oder der Ritter init der
goldeueu Gaus, given iu Vienna, 1824 ;
Souderbare Laune, ib., 1825 ; Heliodor,
ib., 1826 ; Elsbeth, oder die Brautschau auf
Kronsteiu, Armida, die /auberin ini Orient,
ib., 1828 ; Die vier Haiinons-Kinder, ib.,
1830 ; DCS Adlers Horst, Berlin, 1833 ;
Aurora, ib., 1836 ; Der Ratteufauger von
Hamelu, ib., 1837 ; Das Auge des Teufels,
ib., 1840 ; Andrea, ib., 1841 ; Die Hochzeit
am Comosee, ib., 1848 ; and music to many
dramas, farces, melodramas, pantomimes,
etc. ; Festival overture, Berlin, 1830 ; Fu-
neral cantata, ib., 1837. Allgem. d. Biogr.,
ix. 216 ; Fetis ; Ledebur, Toukiinstler Lex-
icon Berlins, 189 ; Mendel ; Wasielewski,
354.

GLASER, KARL GOTTHELF, born at
\\Vissenfels, Prussian Saxony, May 4, 1784,
died at Barmen, Rhenish Prussia, April
16, 1829. Son and pupil of Karl Lud-
wig Traugott Gliiser, and studied at the
Thomasschule of Leipsic under J. A.
Hiller and A. E. Miiller in pianoforte and
harmony, and under Campaguoli in violin.
He began the study of law at Leipsic Uni-
versity, but became a teacher and dealer in
music in Barmen. He wrote songs, motets,
chorals, music for pianoforte, and several
elementary works for musical instruction.
Allgem. d. Biogr., ix. 217 ; Riemaun ;
Mendel.

GLASER, KARL LUDWIG TRAU-
GOTT, born at Ehrenfriedensdorf, Sax-
ony, in 1747, died at Weisseufels, Jan. 31,



15-1



GLEASON




1797. He was cantor, music director, and
seminary teacher in Weisseufels. Com-
posed much manuscript church music, and
published a collection of minuets and polo-
naises for the -pianoforte. His melody to
Feiude ringsum, by Karl Gottlob Cramer,
became widely known, and to the same
melody Nonue wrote another popular text,
Flamme empor ! Mendel ; Allgem. d. Bi-
ogr., ix. 217 ; Schilling ; Gerber ; FOtis.

GLEASON, FREDERIC GRANT, born,
of American parentage,
at Middletown, Con-
necticut, Dec. 17, 1848,
still living, 1889. Dra-
matic composer, pupil
in Hartford on the pi-
anoforte and in compo-
sition of Dudley Buck,
and in 18G9 at the
Leipsic Conservato-
rium on the pianoforte
of Moscheles, Pappe-
ritz, and Plaidy, and in theory and compo-
sition of E. F. Richter, J. C. Lobe, Pappe-
ritz, and Oscar Paul. In 1870 he studied
in Berlin the pianoforte under Oscar Raif
and A. Loeschhorn, theory and composition
under C. F. Weitzmann, and the organ
under August Haupt ; and in London the
pianoforte under Oscar Beriuger. Return-
ing home in 1875, he became organist of
the Asylum Hill Congregational Church in
Hartford, and in 1876 of the First Congre-
gational Church in New Britain. In 1877
he became teacher of the pianoforte, organ,
composition, and orchestration in the Her-
shey School of Music, Chicago, and in 188-1
examiner, director, and fellow of the Amer-
ican College of Musicians. He is also musi-
cal editor of the Chicago Tribune. "Works :
Otho Visconti, grand opera in three acts,
op. 7 (MS.); Montezuma, do. (MS.) ; Ouver-
ture triomphale, for organ, op. 11 ; God our
Deliverer, cantata for soli, chorus, and or-
chesti-a, op. 12 ; 3 trios for pianoforte, violin,
and violoncello ; Praise Song to Harmony,
symphonic cantata, for soli, chorus, and or-



chestra, op. 17 ; Concerto in G minor, for
pianoforte and orchestra, op. 18.

GLEISSNER, FRANZ, born at Neustadt
an cler Walduab, Bavaria, in 1700, died in
Munich after 1815. Dramatic and instru-
mental composer ; completed his philosophi-
cal and musical studies in Munich, and be-
came a member of the royal chapel there
about 1800. He was the first who used
lithography for printing music, and estab-
lished a house for this purpose at Offenbach
in 1799. Works: Der Pachtbrief, opera,
given in Munich, 1814 ; Several ballets, ib.,
among them, Paul und Virginia ; Agnes
Bernauerin, melodrama, ib., about 1790 ;
Lazarus, oratorio, ib., 1795 ; Six masses and
offertories, op. 2 (Augsburg, Lotter) ; Sym-
phonies for several instruments, op. 1 and
15 ; Quartets, duos, etc.; Several collections
of pianoforte music. Fetis ; Gerber ; Rie-
mann ; Schilling.

GLETTLE, JOHANN MELCHIOR, born
at Bremgarten, Switzerland, in the first part
of the 17th century. He was Kapellmeister
in Augsburg about 1G80, and one of the
most favourite composers of his time.
Works : 30 motets, op. 1 (Augsburg, 1007) ;
Masses for five voices and five instruments
(ib., 1007) ; do., and mass for eight voices
and seven instruments, op. 3 (ib., 1070) ;
Psalms for five voices and five instruments
(ib., 1007) ; 36 motets for solo voice and
two violins (ib., 1007) ; Musica generalis
latino-germanica, for from one to five voices,
partly with two violins, besides 2 sonatas
and 30 Trompeter-Stucklein (ib., 1074) ;
do., 2(1 part, op. 8 (ib., 1084) ; 18 psalms
for three voices (ib., 1085). Fetis; Gerber,
Hist. Lex.; Mendel.

GLIMES, JEAN BAPTISTS JULES DE,
born in Brussels, Jan. 24, 1814, died there,
Oct. 4, 1881. Pianist, pupil of Haussens and
of Fi'tis at the Conservatoire, Brussels, and
teacher of singing there in 1837-40. He
was a teacher in London for about twenty
years from 1842. Works : Pianoforte mu-
sic ; Chamber music ; Songs. Fotis ; Men-
del.



155



GLINKA




GLINKA, MICH AIL FVANOVITCH

DE, born iu the village of Novo-spaskoi, near
Smolensk, Russia,
M;iy 20 (or June 1)
1804, died in Ber-
lin, Feb. 15, 1857.
Dramatic composer,
pupil on the piano-
forte of John Field.
A Russian of Polish
extraction, he first
took up music as an
amateur, but later

adopted it as a profession. In 1830 he
went to Italy, and made a close study
of the Italian mode of composition for
the voice, and in 1833 studied counter-
point under Siegfried Wilhelm Dehn in
Berlin. In 1836 he brought out in St.
Petersburg an opera, Zarskaja skisu (Life
for the Czar), which had an immediate suc-
cess, and has always been popular in Rus-
sia. In 1876 its 448th representation was
celebrated, and the bust of the composer
crowned. In 1842 his second opera, Rus-
zlan and Ludmilla, won almost an equal
popularity. Glinka became court con-
ductor and director of the opera and of
the choral performances in the imperial
churches. In 1844 lie went to Paris, in
1845-47 he was in Madrid and Seville,
and, after living a while in Warsaw and St.
Petersburg, returned to Spain in 1851.
In 1854-55 he lived near St. Petersburg,
engaged on his autobiography and in
new opera projects, and in 1856 visited
Dehu, his old master, in Berlin, where he
died. Works : Zarskaja skisu, opera, St.
Petersburg, 1836 ; Ruszlan and Ludmilla,
do., St. Petersburg, 1842 ; Kamarinskaja ;
Symphony (unfinished) ; Lajoto Aragonesa ;




Adagio and Rondo for orchestra ; Septet ;
Quartets ; Serenades for several instru-



ments ; Rondos and variations ; Romances
and other songs. Fetis ; do., Supplement,
i. 387 ; Fouque, fitude sur Glinka ; Men-
del ; Rieinanu ; Cui, La Musique en Rus-
sie, in Revue et Gazette musicale de Paris
(1878-79) ; Serow, in Theater- und Musik-
bote (1857), and iu Musik und Theater
(1868) ; Soloviev, in Musikaluy Listok
(1872) ; Oscar Comettant, Mus. et Musi-
cieus, 414.

GLOCKEN DES STRASSBURGER
MUNSTERS, DIE (The Bells of Strasburg
Cathedral), cantata for baritone solo, mixed
chorus, and orchestra, by Franz Liszt, op.
155, written in 1874. Dedicated to Long-
fellow, to whose "Golden Legend" in
" Christus" Liszt was indebted for his
theme. The cantata deals only with the
prologue, in which Lucifer and the Powers
of the air attempt to tear down the cathe-
dral cross during the night-storm. Pub-
lished, score, pianoforte score, and parts
(Schuberth). Upton, Standard Cantatas,
221.

GLOIRE IMMORTELLE DE NOS
AlEUX. See Faust, Gounod.

GLOOMY TYRANTS WE DISDAIN,
contralto air in D minor, of Josabeth, in
Handel's Atha.Ua, Part I.

(SLORIA ALL' EGITTO. See Aida.

GLORIOUS APOLLO, glee by Samuel
Webbe, composed for the London Glee
Club on its establishment in 1787. It was
the first glee sung at every meeting of the
club during its existence. Grove, i. 599.

GLORREICHE AUGENBLICK, DER
(The Glorious Moment), cantata for four
solo voices, chorus, and orchestra, text by
Dr. Aloys Weisseubach, music by Beethoven,
op. 136, composed in 1814 by order of the
magistracy of Vienna for the celebration of
the Congress held in Vi-
enna to readjust the rela-
tions of Europe after the
downfall of Napoleon ; per-
formed, Nov. 29, 1814, be-
fore the assembled monarchs, Franz I. of
Austria, Nicholas I. of Russia, and Friedrich



156



GLORY



Wilhclm III. of Prussia, to whom it was
dedicated. Published by Haslinger, after
Beethoven's death, under the title Preis
der Toukuust (Praise of Music), with the
original text, and also with a new text by
Friedrich Rochlitz. Edition by Breitkopf
& Hartel (Leipsic), Beethoveus Werke,
Cantaten, No. 1. Marx, ii. 202 ; Thayer,
Verzeichniss, 118 ; Lenz, Beethoven, ii.
304 ; Upton, Standard Cantatas, 53.

GLORY TO GOD IN THE HIGHEST,
chorus in D major, in Handel's Messiah,
Part I.

GLORY TO THE CALIPH. See Oberon.

GLOSCH, KARL WILHELM, born in
Berlin in 1732, died there, Oct. 21, 1809.
Dramatic composer, pupil of his father ;
chamber musician from 17G5 to the Prince
of Prussia and teacher of the princess.
Works : La fete des vertus et des graces,
Berlin, 1773 ; Der Bruder Graurock und
die Pilgerin, ib., 1775 ; Pianoforte music ;
Flute music. FtHis ; Mendel.

GLOVER, CHARLES WILLIAM, born in
London, February, 180G, died there, March
23, 18G3. Violinist, pupil of T. Cooke ; was
engaged at the Drury Lane and Covent Gar-
den Theatres ; musical director of Queen's
Theatre, 1832. Has composed songs, duets,
and pianoforte music.

GLOVER, JOHN WILLIAM, born in






Dublin, June 19, 1815,

still living, 1889. Or-

ganist, studied in Dub-

lin, where he became

violinist in the orches-

tra, 1830. Established

the Choral Institute of

Dublin, 1851. Works :

St. Patrick at Tara,

cantata, London, 1870 ;

Erin's Matin Song,

Patria, do., ib., 1873 ; Masses ; Concerto

for violin and orchestra ; Fantasia on Irish

airs for do. ; Concerto for organ ; Piano-

forte music ; Numerous songs. The De-

serted Village, opera, London, 1880 ; Two

Italian operas (MS.).




GLOVER, STEPHEN, born in London
in 1812, died there, Dec. 7, 1870. Brother
of Charles William Glover, and composer
of more than three hundred popular songs
and duets, most of which were publishers'
successes. Works : Merry is the Green-
wood, cavatina ; Duets, What are the wild
waves saying ?, Stars of the summer night,
There's a sweet wild rose, Our bark is on
the Rhine, The Curfew bell, and Voices of
the night ; Songs, Annie on the banks o'
Dee, The Minstrel knight, and Emigrant's
farewell ; Trios ; Quartets ; Pianoforte tran-
scriptions, etc. Brown ; Mendel.

GLOVER, WILLIAM, born in London,
1822, still living, 1889. Organist at Cain-
bridge, 1841-42, at Manchester, 1842, and
at Cheetham, 1846 ; pupil of Walmisley.
Works : Jerusalem, oratorio, Manchester,
1848 ; Emmanuel, do., ib., 1851 ; The Cor-
sair, cantata (1849) ; Chamber music, songs,
and pianoforte music.

GLOVER, WILLIAM HOWARD, born
at Kilburn, London, June 6, 1819, died in
New York, Oct. 28, 1875. Dramatic com-
poser and violinist. Son of Mrs. Glover the
actress, pupil on the violin of Wagstaff,
leader of the Lyceum band. After a long
tour on the Continent he settled in London,
where he taught, conducted, and sang in op-
era, and was musical critic for the Morn-
ing Post. He resided in the United States
after 1868. Works : The Coquette, opera,
London, about 1845 ; Tarn O'Shauter, can-
tata, produced by the Philharmonic Society,
London, July 4, 1855 ; Aminta, opera, Hay-
market, London, about 1855 ; Ruy Bias,
opera, Covent Garden, ib., 1861 ; Once too
often, operetta, Drury Lane, ib., 1862 ;
Palomita, or The Veiled Songstress, oper-
etta ; Overture to Manfred ; 12 romances
for pianoforte, in two books ; Vocal quar-
tets and duets, etc. ; Pianoforte music.
Grove ; Brown.

GLUCK, CHRISTOPH WILLIBALD,
Ritter VON, born at Weidenwang, near
Neurnarkt, Upper Palatinate, July 2, 1714,
died in Vienna, Nov. 15, 1787. His father,



157




Alexander, and his mother, Walpurga, were
of Prinz Lobkowitz's household, and he
passed his childhood
at the prince's Castle
of Eisenberg. In
1726 he entered the
Jesuit school at Kom-
motau in Bohemia,
where he studied the
classics, singing, the
violin, pianoforte, and
organ. In 1732 he
went to Prague, where he studied under
Cernohorsky, and practised the violoncello.
In 1736 he went to Vienna, where he en-
tered the private band of Prince Melzi, whom
he followed to Milan, where he finished his
studies in harmony under G. B. Sammartini.
He soon wrote operas, Artaserse (1741) be-
ing the first, for Milan, Venice, and Turin,
all of which were well received. In 1745
he went, by invitation, to London, but was
unable to compete with Handel, and the
operas he brought out were failures. In
April 23, 174(5, he appeared at the Hay-
market as a performer on the musical
glasses. He then visited Paris, where he
heard Rameau's operas, Hamburg, and
Dresden, and arrived, near the close of 174(5,
in Vienna, where he applied himself to the
study of :esthetics, and of languages and
literature, frequenting the most intellect-
ual society. His Semiramide riconosciuta
(17 IS) was a marked advance upon his pre-
vious works. From 1749 to 1755 he trav-
elled, visiting and producing works in Co-
penhagen, Rome, Naples, SchiJubrunn, and
again in Rome. The operettas, divertisse-
ments, and other things he wrote after his
return to Vienna, in 1855, showed a marked
falling off; but he was gaining in facility
of style. Abandoning Metastasio's libretti,
after much consultation with the poet Calza-
bigi he set the latter's Orfeo ed Euridice
(given, Oct. 5, 1762), in which his important
reforms in the operatic style were fully man-
ifest. After this masterpiece, however, he
fell back again, writing music in his former



vein to libretti by Metastasio, undoubtedly
in obedience to outside pressure from the
court. It was probably between 1765 and
1770 that he gave singing and clavecin les-
sons to Marie Antoinette. At length he re-
turned to Calzabigi and his new dramatic
style, producing Alceste (1767) and Paride
ed Elena (1769). In this latter year he
wrote also two lighter intermezzi for the
court of Parma. But he had lost all faith
in his older manner, and his new style was
so harshly criticised in Vienna that he de-
termined to seek some other field for the
practical development of his ideas. En-
couraged by the Bailli du Rollet, an attache
of the French embassy, he went to work
upon Iphigenie en Aulide, which, when com-
pleted, he took to Paris, after a few futile
rehearsals in Vienna in 1772. It was
brought out triumphantly in Paris in 1774,
and marked the opening of a new era in
the French lyric drama, as Orfeo had in the
history of the whole lyric stage. It began
very much the same revolution in the French
tragedie-lyrique that had been brought
about in the opera-comique by Philidor,
Mousigny, and Ore-try. Still Gluck had to
rely upon no little diplomacy, pamphleteer-
ing, and, above all, upon the influence of
Marie Antoinette, now queen, to have his
work performed. Orphee, a revised version
of his Orfeo, and a new arrangement of his
Alceste (1774 and 1776) soon followed. In
spite of the success of these works, their
novel, intensely dramatic, and severe style
met with no little opposition ; when Gluck
had set to work on his Armide, Piccinni had
already been invited to Paris, and was hard
at work with Marmontel on his Roland.
Armide was brought out, Sept. 23, 1777 ;
Roland, Jan. 17, 1778. The war between
the Gluckist and Piccinnist factions burst
forth with even more fury than that which,
years before, had raged in London between
the Handel and Bononcini parties. That
Gluck came out victorious in the end with
his Iphigenie en Tauride (May 18, 1779) is
well known ; Piccinni's opera, on the same



15S



GLUCK



-eo



5



a



-r




J



Q



o




o: - -tp



159



GLUCK



subject (Jan. 23, 1781), was too inferior to
keep up the contest. Gluck brought out
(Sept. 21, 1779) liis Echo et Narcisse, which
was not so successful as his Iphigenie, al-
though it was revived a year later. He had
set to work on Les Danai'des, intending it
to be his last opera, but an apoplectic at-
tack forced him to give up this task, and he
gave the libretto to Salieri. He soon re-
turned to Vienna, where he passed his last
years ; his fame aud fortune were alike
great. He died of a second stroke of apo-
plexy. Gluck is, apart from his great ge-
nius, conspicuous iii the history of the lyric
drama as being the first man avowedly to
return to the original general aesthetic prin-
ciples of the opera, virtually as they were
set forth by the Florentine music-reformers
of the 17th century, and first embodied in
the works of Cacciui and Peri. Such a re-
turn to first principles has been made only
twice, first by Gluck, then by Wagner. The
unquestionable ditVerencn in form and char-
acter of the music of Peri, Gluck, aud Wag-
ner, brought about by the gradual musical
evolution of over one and two centuries re-
spectively, should not blind our eyes to its
absolute identity of artistic aim ; namely, IK
entire subservience to the dramatic spirit of
the text. Of all the many reactionaries and
reformers in the history of the lyric drama,
Gluck ami Wagw.T have been the only radi-
cal ones. Of Gluck's operas, Orphee and
Armide have had the widest and most last-
ing popularity ; Alceste comes next, but it
is probable that none of his French operas
have permanently passed from the stage ; a
revival of any of them would not be a mat-
ter of surprise. The best portrait of Gluck
is the one by Duplessis (1775) in the Vi-
enna Gallery. It has been engraved by
Unger and Schilling and etched by Le Rat.
A replica, decidedly finer in the head, but
inferior in other portions, in the library of
the Harvard Musical Association, Boston,
Mass., has been etched for this Cyclopedia.
Another portrait, by Houdeville, has been en-
graved by Philippeaux ; Houdou's famous



bust has been engraved by Saint-Aubin.
Cavelier's statue is in the Opera in Paris.
Works Operas, intermezzos, and ballets :
Artaserse, given at Milan, 1741 ; Demo-
foonte, ib., 1742 ; Demetrio, Venice (under
the title Cleouice), 1742 ; Ipermestra, ib.,
1742 ; Artarnene, Cremona, 1743 ; S if ace,
Milan, 1743 ; Fedra, ib., 1744 ; Alessandro
uell' Indie, Turin (under the title Poro),
1745 ; La caduta de' gigauti, London, 1746 ;
Artameue (remodelled), ib., 1746 ; Piramo e
Tisbe, pasticcio, ib., 1746 ; La tiemiramide
riconosciuta, Vienna, 1748 ; Filide, serenade
in 2 acts, Copenhagen, 1749 ; Telemacco,
Borne, 1750; La <-/,-ii>,-ir.n di Tito, Naples,
1751 ; L' eroe Cinese, Schonbruun, near Vi-
enna, 1755 ; II trioufo di Camillo, Anligono,
Rome, 1754 ; La Danza, Laxeuburg, near
Vienna, 1755 ; Les amours champetres, Vi-
enna, 1755 ; L' iuuoceuza giustificata, II re
pastore, ib., 1756 ; Le Chinois poli en
France, Laxeuburg, 1756 ; Le deguisement
pastoral, Schi'mbrunn, 1756 ; L'ile de Mer-
lin, ib., 1758 ; La fausse esclave, Vienna,
1758 ; Cy there assiegee, ib., 1759 ; L'i-
vrogue corrige, ib., 1760 ; Tetide, ib., 1760 ;
Le cadi dupe, ib., 1761 ; Don Juan, ballet,

1761 ; On ne s'avise jamaisde tout, L'arbre
euchaute, ib., 1762 ; II Irionfu di Clelia, Bo-
logna, 1762 ; Orfeo ed Euridice, Vienna,

1762 ; K.in, ill., 1763 ; La rencontre impre-
vue, Vienna (also in German as Die Pilgrime
von Mekka), 1764 ; II Parnasso confuso,
performed by the imperial family, Schon-
bruun, 1765 ; Telemacco (remodelled), La
Corona (by the imperial family), Vienna,
1765 ; Alceste, ib., 1766 ; 1'aride ed Elena,
ib., 1769 ; Le feste d' Apollo, Bauci e File-
mone, Aristeo, Parma, 1769 ; Iphigenie en
Aulide, Orphee et Eurydice (rearranged),
I'ari.s, 1774 ; Alceste (remodelled), ib.,





1776 ; Armide, ib., 1777 ; Iphigenie en Tau-
ride, cho et Narcisse, ib., 1779. Other



160



GLlTCK



works: 6 symphonies for 2 violins, viola,
bass, and 2 horns ; De profuudis, for chorus
and orchestra ; The eighth psalm, a cap-
pella ; 8 odes of Klopstock, for a voice and
pianoforte ; Part of a cantata, The Last
Judgment, which was finished by Salieri.
Clement, Mus. celebres, 88 ; Fetis ; do., Sup-
plement, i. ; Memoires pour servir a 1'histoire
cle la revolution operee dans la musique par
M. le chevalier Gluck (Paris and Naples,
1781) ; Siegmeyer, Ueber den Ritter Gluck
und seine Werke (Berlin, 1825) ; Eiedel,
Ueber die Musik des Eitters Christoph von
Gluck (Vienna, 1775) ; Miel, Notice sur Clir.
G. (Paris, 1840) ; Solir, Etudes biogra-
phiques, etc. (Annecy, 1853) ; Schmid, Chr.
W. Eitter von Gluck, etc. (Leipsic, 185-4) ;
Desuoiresterres, Gluck et Picciiiui (Paris,
1872).

GLUCK VON EDENHALL, DAS (The
Luck of Edenhall), ballad by Uhland, music,
for soli, chorus, and orchestra, by Eobert
Schumann, op. 143, composed in 1853.
The Luck of Edenhall is a goblet left by
the fairies on St. Cuthbert's well at Eden-
hall, and the superstition is that there will
be no more luck in the family if the goblet
be lost or broken. Longfellow has trans-
lated the poem.

GLUCKSEITTEE, DEB, operetta, text
by Geuee and Mannstiidt, music by Alfons



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