Christoph Willibald Gluck – Orfeo ed Euridice

THE 300th ANNIVERSARY OF CHRISTOPH WILLIBALD GLUCK'S BIRTH

   When Christoph Willibald Gluck was born, the 2nd of July in 1714, Europe was still in the state of war, but the clash of arms was heard mainly on peripheries of the continent. It was breakthrough year in Great Nothern War of Russian-Polish-Danish coalition against Swedish domination on Baltic Sea region. After long siege Barcelona was taken and Spanish Succession War was about to end. Republic of Venice isolated in newly established European balance has been attacked by Ottoman Empire in what was later called the Small War. The state of permanent variability was enhanced by rapid changes in science and technologies. Old habits and regimes were in permanent collision with new ideas and the progress in science and humanities. The conflicts in first half of 18th century were principally the echoes of global crisis in 17th century and the best solution was to clear oversized systems of the values and to start entirely new ideological standpoint. This situation has strong influence on creating the classical music, art of classicism, philosophy and science of the Enlightment era.

   In 18th century opera was one of well established musical forms, with more than a century of history. The moment opera started in 1600 marked the beginning of new era, but in fact it was not clearly baroque form. Conceptually opera was build entirely on renaissance idea of synthesis of arts, but in first century of its development new form was under strong effect of baroque culture. Many composers of opera and dramma per musica were making numerous concessions to singers’ vanity and audience’s expectations. This led to dramatic weakness and caricaturally changed proportions of various components of opera. Some baroque composers tried to restore the idea of balanced elements from various fields of art, but the one who made the first real reform of opera was Christoph Willibald Gluck. He subordinated music to drama and restored dominant position of dramatic effect obtained by play, music and every other element. Even overture had its dramatic function. He also reinforced the position of the choir, and reduced difference between arias and recitatives. 

Grace Bumbry, Václav Neumann – Gluck – Orfeo ed Euridice (1966)

   Christoph Willibald Gluck was one of the greatest opera composers ever. Thank to collaboration with librettist Raniero de’Calzabigi he was able to create works showing this form in new light. After about two dozens of traditional operatic works in Italian style, in 1762 he produced first opera of new type Orfeo ed Euridice. After Viennese premiere his reforms were poorly received. Paris was more ready to break with tradition and the work was acclaimed. His next operas Alceste (1767) Paride et Elena (1770), Iphigénie en Aulide (1774), Armide (1777) and Iphigénie en Tauride (1779) became successful realizations of new operatic esthetics. This reform decided opera was able to survive and be well in the era of Enlightenment. Gluck was recognized opera composer but his instrumental music never become popular, although nine symphonies and eight trio sonatas complement the picture of his creative possibilities. He was also composing sacred works even if he did it very rarely. His small portfolio of religious works comprises De profundis clamavi for choir and orchestra and lost Miserere.
   Later works give composer appreciation but 250 years later Orfeo ed Euridice is the most popular opera by Gluck. This work is transitional form between opera in Italian style and new trends. Maybe this is what makes the work so flexible. There are dozens of great performances on vinyl and on digital media. One of old but still very clear is 1966 recording made in Heilandskirche in Leipzig. Published under Eterna label but in cooperation with Electrola, during next years this recording was frequently republished in various countries. Perfectly sung by Grace Bumbry (Orfeo), Anneliese Rothenberger (Euridice) and Ruth-Margaret Pütz (Amore) with Rundfunkchor Leipzig and Gevandhausorchester Leipzig under direction by Václav Neumann, this is great recording. In fact it still sounds fresh, and after almost half of the century this is clear exposure of quality rendition. 

Václav Neumann – Smetana – Má vlast

   In the great tradition of Czech composers romanticism has special meaning. In contrast to earlier eras when Czech composers were part of the European multicultural tradition, in the nineteenth century, it became clear that the Czech music has the ambition and power to determine their own style. This was a period of awakening consciousness of European nations and in many countries these processes are carried out with varying degrees of advancement. Bedřich Smetana (1824-1884), who was comprehensive composer of concert and dramatic music, became famous as Czech national opera composer. From his nine operas especially his second The Bartered Bride (Prodaná nevěsta) became famous internationally.
   Most of his instrumental music output has a historic meaning and only rarely becomes a part of concert repertoire. Valuable exception is the famous cycle of six symphonic poems Má vlast (My Country), composed during five years (1974-1879). Sometimes considered as one six-part composition in fact it is collection of six individual poems written under strong impression of Liszt’s symphonic poems. The six Smetana’s poems are linked by a clearly defined style and thematic content. Composer using the romantic means of expression, referring to the Czech melodic idiom, devoted his poems to reflect the images, history and legends of his homeland.

Václav Neumann – Smetana – Má vlast (1968)

   Born in Prague Václav Neumann (1920-1995) recorded perfect performance of Smetana’s cycle with Gewandhausorchester Leipzig. Before he had a chance to lead the orchestra he was violin and viola player in chamber groups and in Czech Philharmonic Orchestra. After Raphael Kubelik’s resignation in 1948 he had a chance to start his career but he did not accept the proposal. In 1956 he became conductor of Komishe Oper in Berlin. As a conductor Neumann was highly noted for his interpretations of Czech music. From 1964 to 1968 he was conductor of Gewandhausorchester Leipzig. In 1968 he recorded complete cycle of Smetana’s symphonic poems Má vlast. Double LP album published by Telefunken-Decca is one of the best renditions of Smetana’s poems ever recorded.

Bohuslav Martinů – String Quartet No. 7 and opera fragments

   The first and still most comprehensive presentation of Bohuslav Martinů’s oeuvre was series of records published by Panton label. Fifth and last record program has character of additions - it comprises String Quartet No. 7 and fragments of last two operas Greek Passion and Ariadna. As a kind of bonus producers placed recording of Martinů’s voice made in May 1946. This recording features composer talking about his escape from Europe and first steps in US artistic life is nice. The series of records with selected Martinů’s music was starting level for next recordings in eighties. Of course the leadership has been lead by Czech artists. 

   Bohuslav Martinů was one of most consequent composers of neo-classical style in 20th century. Basing on ideas of Igor Stravinsky he started to develop his own style in thirties and shortly he became one of key neo-classical composers. Unlike Stravinsky who was permanently experimenting with various styles, Martinů didn’t turn out of his style so his later compositions were almost always in deep relations with neoclassicism. And he achieved interesting results also in his late works. In his chamber music this direction was clear and presented to his last works. In 1947 Bohuslav Martinů composed last of his seven string quartets and dedicated this work for his wife. Subtitle of String Quartet No. 7 given by composer is Concerto da camera. In three-part construction he concluded brilliant formation and compact exposure of neo-classical ideas with modern harmonic substance. 

Bohuslav Martinů – String Quartet No. 7 (1979)

   String Quartet No. 7 interpreted by Talich Quartet (Petr Messiereur, Jan Kvapil, Jan Talich and Evžen Rattay) is perfect example of highly inspired, perfectly outfitted work of mid 20th century modern music. Fragments from last two Martinů’s operas are hardly different although still related to neoclassical ideas. Composed in late fifties Greek Passion (1956-1959) and Ariadne (1958) are presented in short fragments – duo of Katharina and Manolios from Greek Passion and Ariadne’s Lament are presented by Alena Miková, Ivo Židek and Nad’a Šormová with Prague National Theatre Orchestra conducted by Václav Neumann. The cover art of whole series were paintings of Czech artists who were friends and coworkers of composer. This album exposes The Return of Theseus by Josef Šima, painting connected by subject with suitable Ariadna fragment.