Gluck

Contents: Introduction. Part I Before Orfeo: Coming of age in Bohemia: the musical apprenticeships of Benda and Gluck, Daniel Heartz; The wandering minstrel: an 18th-century fiction?, Patricia Howard; The 'sweet song' in Demofoonte: a Gluck borrowing from Handel, John H. Roberts; Gluck nella 'Gazetta di Milano': 1742-1745, Klaus Hortschansky; The Sachsen-Hildburghausen Kapelle and the symphonies of Christoph Willibald Gluck, Jen-yen Chen. Part II Gluck in Vienna: From Garrick to Gluck: the reform of theatre and opera in the mid-18th century, Daniel Heartz; The libertine reformed: 'Don Juan' by Gluck and Angiolini, Charles C. Russell; Some questions on the original version of Gluck and Angiolini's Don Juan, Sibylle Dahms; Gluck's Rencontre Imprevue and its revisions, Bruce Alan Brown; Gluck and the 'festa teatrale', Raymond Monelle; Un manifeste en musique, Michel Noiray; An island entire of itself: Gluck's Telemaco, Max Loppert; Gluck's Alceste in Bologna: production and performance at the Teatro Comunale, 1778, Margaret R. Butler. Part III Gluck in Paris: From Vienna to Paris: Gluck and the French opera, Julian Rushton; Gluck and Lully, Herbert Schneider; Musical setting and scenic movement: chorus and choeur danse in 18th-century Parisian Opera, Thomas Betzwieser; Royal Agamemnon: the two versions of Gluck's Iphigenie en Aulide, Julian Rushton; Der Deus ex machina in Gluck's Iphigenie in Aulis, Wilhelm Weismann; A Bach borrowing by Gluck: another frontier, George J. Buelow; Expression and revision in Gluck's Orfeo and Alceste, F.W. Sternfeld. Part IV Reception and Legacy: Some thoughts on Gluck and the reform of the opera, H.C. Robbins Landon; Berlioz and Gluck, Joel-Marie Fauquet; Iphigenie a Paris: positioning Gluck historically in early 20th-century France, William Gibbons; Who killed Gluck?, Simon Goldhill. Name index.