Andrew kennedy Arias by Gluck, Mozart and Berlioz 11. Se’all’ impero (Tito, La Clemenza di Tito) W. A. Mozart [5.11] 12. Ô blonde Cérès, (Iopas, Les Troyens) H. Berlioz [5.15] 1. Calchas, d’un trait mortel percé (Achille, Iphigénie en Aulide) C. W. Gluck [1.40] 13. Ah! je vais l’aimer (Bénédict, Béatrice et Bénédict) H. Berlioz [2.49] 2. (Aria) Misero! E che faro! 14. Chant du Bonheur (Recit) No, si atroce costanza (Admeto, Alceste) C. W. Gluck [5.16] (Lélio ou Le retour à la vie, Op. 14b, No. 4) H. Berlioz [4.41] 3. J’ai perdu mon Euridice (Orphée, Orpheé ed Euridice) C. W. Gluck [4.09] 15. Air de Faust (Faust, Le Damnation de Faust) H. Berlioz [5.43] 4. Divinité des grandes âmes (Pylade, Iphigénie en Tauride) C. W. Gluck [2.18] 5. Overture (Die Entführung aus dem Serail) W. A. Mozart [4.38] Total Timings [62.00] 6. Hier soll ich dich den sehen (Belmonte, Die Entführung aus dem Serail) W. A. Mozart [2.24] 7. Ich baue ganz auf deinem stärke (Belmonte, Die Entführung aus dem Serail) W. A. Mozart [7.23] 8. Overture (La Clemenza di Tito) W. A. Mozart [4.56] 9. Del più sublime soglio (Tito, La Clemenza di Tito) W. A. Mozart [3.11] Andrew Kennedy tenor Southbank Sinfonia 10. Ah, se fosse intorno al trono (Tito, La Clemenza di Tito) W. A. Mozart [2.25] Simon Over conductor www.signumrecords.com Programme Note music he was then composing was reportedly hearts of an audience, without the risk of sinning language, which suits this style, is by no negative. According to Burney, Gluck nearly thirty against reason or common sense’. There should means suitable for me; no doubt it has many other ‘There are two supreme gods in the art of music: years later maintained ‘that he owed entirely be no da capo arias, no extended melismata, an merits, but I was born in Germany and do not consider Beethoven and Gluck. The former’s realm is that of to England the study of nature in his dramatic absence of personally interjected ‘caprice’, fewer that any study on my part either of Italian or infinite thought, the latter’s of infinite passion […] compositions’. Life as an ‘itinerant maestro di recitatives, and less word repetition. Syllabic setting, French entitles me to appreciate the delicate there is so much of each in the other that these two cappella’ – with prestigious productions in simple melody, the importance of the chorus (Greek shades which cause a preference for one language Jupiters form a single god, and all we can do is to Dresden, Vienna, Copenhagen, Vienna, Prague classical style), and ‘clarity before difficulty’ was rather than another, and I think that a foreigner lose ourselves in admiration and respect’ (Berlioz, (where in 1750 he married the wealthy Maria Anna placed at a premium. Similarly the importance of ought to refrain from judging between them […] 1856). Gluck was born in Bavaria. Of his childhood Bergin [Pergin], nearly twenty years younger), and the overture as a dramatic preparation distinct from the language which suits me best is the one which in Bohemia he wrote: ‘My father was a head Naples – led finally to his appointment in 1755 curtain-raiser. ‘My purpose was to restrict music to enables the poet to furnish me with the most forester [to the Lobkowitz family, of future as director and composer of Vienna’s francophile its true office, that of ministering to the expression varied means of expressing the passions’ Beethoven association] and he brought me up Burgtheater. During the 1770s his association with of the poetry and to the situation of the plot, (1 February 1773). to follow in his footsteps. At that time music the Paris stage enjoyed the patronage of Marie without interrupting that action and smothering was all the rage. Unfortunately, inflamed with a Antoinette, a former pupil. it by superfluous ornamentation […] animating ‘He innovated in almost every field,’ extolled passion for this art, I soon made astounding the figures without distorting their contours […] Berlioz, ‘though in so doing he was only following progress and was able to play several instruments. Inspiring the generations from Salieri, Mozart, I have striven to banish the abuses against which the irresistible impulse of his dramatic genius. I do My whole being became obsessed with music Cherubini and Méhul to Beethoven, Weber, Berlioz reason and good sense have so long protested not think that his primary goal was to expand the art and I left all thoughts of a forester’s life behind’. and Wagner, Gluck – rough-hewn realist, imaginative in vain [… and to replace] flowery descriptions, of music. But he was gifted with an extraordinary Following a period at the University of Prague, dreamer by turn, a man of ‘fire, but mad’ according superfluous similes, and cold, sententious morality feeling for expression and a rare understanding reading logic and mathematics, he settled in to Metastasio writing to Farinelli in 1751 – was by the language of the heart, by strong passions, of the human heart, and his sole aim was to give Italy (1737-44), studying ‘practical knowledge of all one of the grand opera reformers of history. interesting situations, and an ever-varying passions a true, profound and powerful language, the instruments’ with Sammartini in Milan, and Wagner edited his Iphigénie en Aulide (1847), spectacle […] simplicity, truth and nature are and he used all available musical resources for writing a series of Metastasian operas. Berlioz his Orfeo (1859), Richard Strauss his the great touchstones of the beautiful in all artistic this sole purpose. When rules did not stand in the Iphigénie en Tauride (1890). The 1769 preface creation’. Four years later we see him elaborating way of his inspiration he followed them, but he In 1745 he came to London, as house composer to to Alceste, dedicated to the Duke of Tuscany, set his ideas in the Mercure de France: ‘Imitation discarded them when they became an obstacle. the King’s Theatre, Haymarket. In London he met out his new age philosophy, influenced somewhat of nature is the acknowledged aim which all Only his harmonic language remained restricted; David Garrick, one of whose protégés, the castrato by Francesco Algarotti’s Essay on Opera (1735), ought to seek […] I do not employ those shakes, he only knew a limited number of chords, which Gaetano Guadagni, was Gluck’s original Orfeo. He which proposed that drama should ‘delight passages and cadences which Italians use so he would often use in the same way. On the other also encountered Handel, whose opinion of the the eyes and ears, to rouse up and to affect the lavishly [in opera seria and opera buffa]. Their hand he introduced many new rhythms, which - 4 - - 5 - Mozart subsequently adopted. Several of these ‘modal’/‘speaking’ voices and extended top regis- the castrato part of Orfeo (Guadagni) re-allocated Paris Opéra in 1821. The following year he copied have found their way into modern compositions, ters, probably falsetto-generated, customarily took to haute-contre (Legros), was produced at the out a number of pages in full score (together with and musicians of our time have not been able to the male lead in French operas of the baroque/ Académie-Royale de Musique, 2 August 1774. The passages from Iphigénie en Aulide). avoid them. They are still subject to the tyranny early classical period. In ‘Calchas, d’un trait mortel three-act story, from Greek mythology, relates how that this dark and powerful genius exercises over percé’ (Act III), a gallant aria, with horns, trumpets Orfeo the poet-musician braves the Furies to bring ‘Berlioz,’ the young George Bernard Shaw wrote, all forms of expressive music. He was the first and drums imparting vibrant imagery, Achilles back his wife Euridice from the Underworld. In ‘could never quite forgive [Mozart] for possessing to make this art a genuine poetic language’ (Le sings of his determination to save Iphigénie. saving her, part of the contract is that he will all the great qualities of his idol Gluck, and many Correspondant, 22 October 1830). not look at her until she is back on earth. But, others of which Gluck was destitute, besides Alceste (1767/76) was staged at the Burgtheater, succumbing to her sadness that he apparently no surpassing him in technical skill’ (The Dramatic Iphigénie en Aulide (1774), to a three-act libretto Vienna, 26 December 1767, with a French revision longer loves her, he does. She dies. He sings of his Review, 6 June 1885). Eventually he came around, by Leblanc du Roullet after Racine’s Alexandrine- following in Paris, 23 April 1776. Both versions set grief in ‘Che farò senza Euridice?’/‘J’ai perdu mon admiring especially Idomeneo and Don Giovanni, verse tragedy Iphigénie (Versailles, 1674), was three-act libretti (by Ranieri de Calzabigi and du Eurydice’ (Act III) – wondrously beautiful music though not Die Entführung aus dem Serail. Gluck’s first work for the Paris stage, produced at Roullet respectively) based on Euripides’s tragedy that has never lost its power to grip the heart. Mozart’s operas – spanning nearly a quarter of the Opéra, 19 April 1774. ‘I do not know whether Alcestis (Dionysia Festival, 438 BC), treated also by a century from Apollo et Hyacinthus in 1767 to this is song, but perhaps it is much more than Lully and Handel. ‘I have lived with the Muses/And The four-act tragedy Iphigénie en Tauride (1779), Die Zauberflöte in 1791 – cast tenor singers in that. I forget the opera and find myself in a on lofty heights:/Many doctrines have I learned;/But culmination of Gluck’s ‘reform’ style, was given different ways, dependent on linguistic context.