To search the groups of press, associations, sponsor, businessmen for the site ” News-art-culture.com”.Gluck shares the music in his creations; with talent, musical inclination, in which his non-conformism reformulates the opera, searching the balance between the music and canto. He enters in musical structure for expressivity remaking the melodrama, searching always the harmony and melodic purity in thematic where are associate the personages. His think is naturalness, sentimental passion and…..love. To can confound? Christoph Willibald Gluck  is birth to Erasbach the 2 July 1714 and is death to Vienna the 15 November 1787, is been a Allemande composer and soloist of opera. In opera is initiator and the better soloist of opera byViennese classicism. He reformulates the series opera which to found in decline searching the balance associating the music at canto simplifying the drama, preparing the expressive musical language of works with simplicity, clarity and naturalness. ( Orfeo and Euridice, Alceste). His reforms in opera are followed of the success influencing the composers ( Mozart, Salieri, Cherubini, Berlioz, Wagner).

THE STUDY, MUSICAL CAREER

He is birth into modest family, the father being a forester staff at tolls of passing from Erasbach’s forestry and someone riches lands monasteries. His ability musical comes with the first lessons of organ and harpsichord studied at Conservatory of Jesuits from Komatau afterward he continues to play at violin and violoncello. Following them to start the disputes with the father for musical inclination being constrained to run from family house, gaining to live as songwriter, ambulant musician, singing in places and churches. The music is his soul! For the music he remains: Discordant with the family. Original in his musical creation. Ambitious in musical sphere. After splitting of family he to transfers to Paris where studying the music and frequenting the Faculty of philosophy at Local University studying the courses of logic, physic and metaphysic. To Prague he enters in contact with Italian works of Johann Adolf Hasse after the metastasian models, a triumph in all Europe. In the year 1735 to Vienna he enters as musician of chamber at the prince Lobkowitz. I time he to transfers to Milan with the friend and protector of his musical art, the noble Antonio Maria Melzi which gives him the possibility of study under master Giovani Battista Sammartini. In meantime, he writes the musical pieces, sonatas in trio publicized to London. With all this the theatre remains the center of his interest. The first lyric opera Artaserse compose on the text of Metastasio represented to Theatre Ducal from Milan is comes with the big success. More tard he writes for another theatres from Milan, Venice and Torino. In his long musical passage : to London he obtains a success of basses level at Theatre of King with the opera” The fall of giants”, in time he meets   Handel which are o big musical influence for the successive years, in change to Vienna he is named the chapel master , obtaining more attention from intellectuals  nobiliary part and from  Giacomo Duracco  director of two important theatres from city, to implicates in comics company of French opera, where he writes “ Don Juan” having the collaboration with the ballet under choreography by Gasparo Angiolin together wrote by  Ranieri of Galzabigt with which he starts the ”glucknian  reform”. To Paris intellectuals from the year 1900  appreciate his talent entering under the protection the new Queen Delphina of France, Maria – Antonietta of Hapsburg Lorena obtaining the subscriber at Regal Music Academy. In the year 1763 he writes Iphigenie  and Tauride on the text of Racine, following Orfeo and Euridice. In time between successes he enters in debates with the varies musicians of era, in principal with Niccolo Piccinni for the opera “ Alceste” an opera adapted French spirit. 

THE STYLE, GLUCK ‘S MUSIC 

The works are accompanied of purity in melodic forms with harmony in thins, sweets timbres searching the sense musical expression. The reform of Gluck is concepts of polemic among gluckists and piccinnists supporters by Italian opera traditions. With the reform he attacks the series opera , the abuses of virtuosos vocals   in aria structure and recitals straight divides proposing the attention for orchestras , preparing the expressive cadre of opera in simplicity ,clarity with naturalness and passion, in heart language in elaborating of opera. It’s the  melodrama’s reform with vocally more controlled and disappearance of difference between the recital and aria where preferred remain the musical expression linked of the words. The Gluck’s reform is designed between of polemics among Gluckisti and Piccinnists supporters of Italian opera’s traditions. With the reform he attacks the series opera, the abuses from vocal virtuosities in arias’ structure and recitals entire divided which propose the orchestration attention, preparing the expressive cadre of opera in simplicity, clarity with naturalness and passion, in the heart’s language for elaboration of opera. Listen the Gluck’s creation? It’s the passion? It’s the love? It’s the talent, the musical purity?

THE GLUCK’S WORKS 

Artaserse, Demetrio, Tigrane, Fake sclave, Ippolito, Marriage of Ercole and Ebe, Orfeo and Euridice, Triomph of Clelia, Telemaco, Alceste, Hollyday of Apollo, Annide, Iphigenie and Tauride, The crown, Shepherd King, Paride and Elena…

Ballet: Loves of Flore and Zephire, Don Juan, Semiramis, Iphigenie…

The harmony and musical purity make part from the Gluck’s works. He remakes the series opera because he wants the total harmony; the music’s   expressivity enters in clarity and simplicity, with attention maxim in opera’s structure on the orchestration with naturalness elaborating the passional opera with the great sensibility of interpretation. The opera is his perfect part, the compositions are passional, seductive from musical expressivity dominate of harmony. In his musical meditation enters the melodrama being his sentimental reflection in the music.