Patricia Howard - Christoph Willibald Gluck: A Guide to Research

CHRISTOPH WILLIBALD GLUCK

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CHRISTOPH WILLIBALD GLUCK

A GUIDE TO RESEARCH

SECOND EDITION

PATRICIA HOWARD

First published 2003 by
Routledge

Published 2013 by

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Library of Congress Cataloging-in-Publication Data
Howard, Patricia.

Christoph Willibald Gluck : a guide to research / Patricia Howard.2nd ed.

p. cm. (Routledge music bibliographies)

Includes indexes.

1. Gluck, Christoph Willibald, Ritter von, 17141787Bibliography. I. Title. II. Series: Routledge musical bibliographies.

ML134.G56 H7 2003

016.7821092dc21

2002153872

ISBN 13: 978-0-415-94072-6 (hbk)

Contents

The music of Christoph Willibald Gluck has generated a wealth of critical comment, polemic, analysis, and interpretation from the composers lifetime to the present day: the ever-increasing body of Gluck literature reflects both changing taste in the theater and changing criteria of scholarship through more than two centuries. The last two decades have seen an unprecedented expansion of Gluck scholarship (accompanied by a welcome increase in performances of the music), and I am glad to have the opportunity to bring this bibliography up to date.

A list of the major available sources for a study of the music, including published and manuscript material, is set out in singers and designers, on whom fell a large share of the burden of interpreting his dramatic concept; information about production methods is still a rarity.

The bibliography is necessarily selective, more so than the first edition, since the quantity and quality of Gluck research has increased markedly in the fifteen years since the bicentenary of his death; in order to take account of as much modern research as possible, some items included in the first edition have been pruned. In selecting items for annotation, I have tried consciously to redress an imbalance, which has existed ever since Glucks arrival in Paris in 1773, between the vast bulk of writing about the Paris operas, the considerably smaller quantity about the Viennese reform operas and ballets, and the scanty coverage of the early operas and other genres. To this end, I have included quite minor items dealing with the third category and have excluded much popular or derivative coverage of areas already soundly investigated in more scholarly studies. The only categories I have excluded on principle are reviews of performances where no profound discussion of the work itself takes place. I have restricted dictionary articles to two categories: those that include the earliest references to Gluck (Dlaba, item 105, Gerber, item 112, and Luca, item 130), and major modern musical encyclopedias, notably Die Musik in Geschichte und Gegenwart (item 91), and New Grove (item 99), whose articles constitute the best biographies currently available.

The entries are drawn from published material of all types, books, articles, and newspaper items, in English, French, German, and Italian. This edition was completed in August 2002. Since my plan was to include nothing unread (apart from a few unavailable dissertations), I have had to forego consideration of several dozen older items that appeared to promise attractive coverage of out-of-the-way topics (the accessibility of nineteenth-century newspapers is a particular problem). Those endowed with greater patienceor luckthan I can find items listed in the bibliographies in .1, in particular Keller (item 44), and Wurzbach (item 50), which they may find it worthwhile to try to track down, and I would be particularly glad to hear of any important additions discovered in this way. At the other end of the chronological scale, new, enlightening investigations are being published almost monthly, and I am bound to have missed a few very recent articles that found their way into the bibliographical indexes too late for me to obtain copies of them. That such an abundance exists and is constantly increasing shows the healthy state of Gluck research in the twenty-first century.

I have received great courtesy and forbearance from a number of libraries. I should like to record my gratitude first to the library of the Open University, Milton Keynes, on whose advisory and search services I have surely made unprecedented demands. Particular thanks are also due to the staff of the Bibliothque Nationale and Bibliothque de lOpra in Paris, the sterreichische Nationalbibliothek and Gesellschaft der Musikfreunde in Vienna, the Staatsbibliothek in Berlin, the Frst Thurn und Taxis Hofbibliothek in Regensburg, the Nrodn Muzeum in Prague, the Civico Museo in Bologna, the Statensbibliothek in Stockholm, and the Pierpont Morgan Library in New York. In fact almost all the libraries listed in the Abbreviations section have responded to my requests, either in person or by correspondence, with exceptional efficiency and unfailing kindness. I owe a great debt to Daniela Philippi, Denise Gallo, and Brad Short for help in tracing Gluck autographs and to Neil Williams for picture searches. Finally, thanks are due to my family, who have zealously undertaken the work of unpaid research assistants while on their global travels.