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Gluck   /glək/   Listen
Gluck

noun
1.
German composer of more than 100 operas (1714-1787).  Synonym: Christoph Willibald von Gluck.






WordNet 3.0 © 2010 Princeton University








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"Gluck" Quotes from Famous Books



... made another excursion, one of far greater importance in more than one respect than that to Berlin. Vienna had long attracted him like a powerful magnet, the obstacles to his going thither were now removed, and he was to see that glorious art-city in which Gluck, Haydn, Mozart, Beethoven, Schubert, and many lesser but still illustrious men had ...
— Frederick Chopin as a Man and Musician - Volume 1-2, Complete • Frederick Niecks

... ideal life. As this music-drama rests historically upon the opera it is but natural that the second triumvirate of German music should be composed of the founder of German opera, C. M. von Weber, the reformer of the old opera, Christoph Wilibald Gluck, and Richard Wagner. To trace therefore the development of the youngest of these masters, will lead us to consider theirs as well, and in doing this the knowledge of what he is will ...
— Life of Wagner - Biographies of Musicians • Louis Nohl

... rather disrespectfully of Wagner as a spell-binder. He liked Wolf-Ferrari pretty well; the modern he was really crazy about was Montemezzi. But he had made her sing oceans of Gluck,—both the Iphigenia and Euridice. It was awfully funny too because he would sing the other parts wherever they happened to lie, tenor, bass, contralto, anything, in the most awful voice you ever heard, though his speaking voice was lovely. Let ...
— Mary Wollaston • Henry Kitchell Webster

... glorious melodies entranced the senses, produced the grand oratorio of the "Messiah," which is still performed in both Protestant and Catholic cathedrals; and Graun, with whom Frederick the Great played the flute, brought private singing into vogue by his musical compositions. Gluck was the first composer who introduced the depth and pathos of more solemn music into the opera. He gained a complete triumph at Paris over Piccini, the celebrated Italian musician, in his contest respecting the comparative excellencies of the German and Italian schools. Haydn introduced the ...
— Germany from the Earliest Period Vol. 4 • Wolfgang Menzel, Trans. Mrs. George Horrocks

... are of great dramatic effect. A good illustration is found in the air "Divinites du Styx," from Gluck's Alceste. This contrast is still further heightened by a sudden change of both Intensity ...
— Style in Singing • W. E. Haslam

... thought of the times. Their virility and character have been due to the newness of the field in which they worked. The influence of the compositions of Rubinstein and Glinka can hardly be regarded as Russian since they were so saturated with European models that they might be ranked with Gluck, Mendelssohn, Liszt and Meyerbeer far better than with their fellow-countrymen who have expressed the idiom of Russia with ...
— Great Pianists on Piano Playing • James Francis Cooke

... in Jaro was one of great fear. We were told by a priest that we were to be attacked and burned out. While sitting at dinner I heard just behind me a fearful noise that sounded like "Gluck-co-gluck-co." An American officer told me it was an alarm clock, but as a matter of fact it was an immense lizard, an animal for which I soon lost all antipathy, because of its appetite for the numerous bugs that infest the islands. Unfortunately they have no taste for the roaches, the finger-long ...
— An Ohio Woman in the Philippines • Emily Bronson Conger

... Florence "Academy." Vincenzo Galilei. Monody. Polyphonic music. Emilio del Cavalieri. Vittorio Archilei. Music of Greeks recovered. Peri. Monteverde and his work. First opera house. Alessandro Scarlatti. Troubadours. Lully, Rameau and French opera. Purcell, Handel and music in England. Gluck, the regenerator. German opera. Mozart, Beethoven, Weber and Wagner. What came from Bach, Chopin and Berlioz. Rossini's melodies. Wagner's influence. Verdi, the grand ...
— For Every Music Lover - A Series of Practical Essays on Music • Aubertine Woodward Moore

... He drew from the pocket of his gray-check cutaway, purple and fine linen, the purple being an ornate and indecipherable monogram, wherewith to wipe his troubled brow. Susan Gluck's Orphan, who was playing down-wind, paused to inhale deeply and with a beatific expression. Restoring the fragrant square to its repository, the pink one essayed ...
— From a Bench in Our Square • Samuel Hopkins Adams

... Paradise, a perfect Paradise! Indeed, General, your nation has its revenge of us in the arts. You build a temple for us, and on Wednesday I hear you are to provide the music. Tum-tum, ta-ta-ta . . ." He hummed a few bars of Gluck's "Paride ed Elenna," and paused, with the gesture of one holding a fiddle, on the verge of a reminiscence. "There was a time—but I no longer compete. And to whom, General, are we indebted ...
— The Westcotes • Arthur Thomas Quiller-Couch

... his father. The utterance is notable as showing Mozart's belief touching the relationship between text and music; he places himself in opposition to Gluck whose ideas were at a later day accepted by Wagner. ["It was my intention to confine music to its true dramatic province, of assisting poetical expression, and of augmenting the interest of the fable, without interrupting ...
— Mozart: The Man and the Artist, as Revealed in his own Words • Friedrich Kerst and Henry Edward Krehbiel

... spoken, and those of Mozart were not unsimilar. Otto Jahn, in his life of that composer, says of the father Leopold, that "his ideas were firmly rooted in the traditions of Italian music"; so firmly, indeed, that he could not appreciate the mild innovations of a Gluck. This paternal influence was deepened, besides, by ...
— The Pianoforte Sonata - Its Origin and Development • J.S. Shedlock

... say, by way of responding to the sober salutation, "Ay, Johnny." Then there was silence, but for the "gluck" with which we lifted ...
— Auld Licht Idyls • J.M. Barrie

... Fr. Lesec and Ger. Duerr, with Garlick Ger. Knoblauch (Chapter XV), and with Shakespeare Ger. Schuettespeer. Luck is both for Luke and Luick (Liege, Chapter XI), but Rosa Bonheur and the composer Gluck certify it also as a nickname. Merryweather is like Fr. Bontemps, and Littleboy appears in the Paris Directory as Petitgas, gas being the same as gars, the old nominative (Chapter ...
— The Romance of Names • Ernest Weekley

... of this little valley belonged to three brothers called Schwartz, Hans, and Gluck. Schwartz and Hans, the two elder brothers, were very ugly men, with overhanging eyebrows and small, dull eyes, which were always half shut, so that you couldn't see into them, and always fancied they ...
— Famous Stories Every Child Should Know • Various

... subjects discussed by ordinary men, and then to read Buchanan, there is as much difference as in listening to a novice performing on a piano, and then to a Chevalier Gluck or ...
— Buchanan's Journal of Man, February 1887 - Volume 1, Number 1 • Various

... think how that amused me. I then begged that I might not be made to suffer for the accident, and hoped she would sing another song. After some consultation with her husband, he said, 'She will sing you something of Gluck's.' Meantime, the Princess of Gotha had come in, and we five proceeded through various corridors and rooms to the Queen's sitting-room. The Duchess of Kent came in too, and while they were all talking, I rummaged about amongst the music, and soon discovered my first set of songs; so, of course, ...
— Life of Her Most Gracious Majesty the Queen V.1. • Sarah Tytler

... taken alone, but at last she was able to draw him with her into the world. In Germany, in the Netherlands, in Austria, even in Russia, constant triumphs awaited them. There were a few exceptions, chief among them being Vienna, the city where Mozart struggled so long in vain, and where Gluck was unable to produce more than a passing impression by his great operatic reforms. But nearly all the places they visited offered admiration and incense to the faithful pair of artists. Through Schumann's genius, that of his wife was influenced, and Clara Schumann became far greater than ...
— Woman's Work in Music • Arthur Elson

... manifold thoughts and feelings of himself and his lady Christabel. He even ventures, with an exquisite sense of solemn strangeness and licence (for there is witchcraft going forward), to introduce a couplet of blank verse, itself as mystically and beautifully modulated as anything in the music of Gluck ...
— English Critical Essays - Nineteenth Century • Various

... a curious, old-fashioned music, reminding one a little of the quiet harmonies of Gluck. Then, putting on their hats, the pages danced, continuing their song; they wound in and out of one another, gravely footing it, swaying to and fro with the music very slowly. The measure was performed with the utmost reverence. Now and then ...
— The Land of The Blessed Virgin; Sketches and Impressions in Andalusia • William Somerset Maugham

... of a concert given in Charleston, S. C., in 1796, when an orchestra of thirty instruments was employed in a performance of Gluck's overture to "Iphegenie en Aulide," and ...
— Annals of Music in America - A Chronological Record of Significant Musical Events • Henry Charles Lahee

... almost shouted Pinac, pointing to the spot on the wall where that musician's portrait had once reposed. "And Beethoven! And where is Gluck?" Then looking around: "Nom de Dieu! even his metronome have gone—his ...
— The Music Master - Novelized from the Play • Charles Klein

... restless and irresolute. Between the two, three white-painted turbine-trunks, like eel-baskets laid on their side, accentuate the empty perspectives. You can hear the trickle of the liquefied gas flowing from the vacuum into the bilge-tanks and the soft gluck-glock of gaslocks closing as Captain Purnall brings "162" down by the head. The hum of the turbines and the boom of the air on our skin is no more than a cotton-wool wrapping to the universal stillness. And we are running an ...
— Actions and Reactions • Rudyard Kipling

... that the persistent iteration of a striking phrase in the bass gives an effect of dramatic intensity, as may be seen in the sublime "Crucifixion" of Bach's Mass in B minor.[83] The Chaconne and Passacaglia are old dance forms (examples of the former being found in Gluck's Ballet Music) and are closely related to the Ground Bass; since, in the majority of cases, we find the same procedure in the announcement of the theme and in its subsequent treatment. Two examples ...
— Music: An Art and a Language • Walter Raymond Spalding

... all over their lovely petals. You wish me a rose-strewn itinerary, all conceivable forms of 'good luck'; as though you stood on tip-toe and shouted after me: 'Gluck auf.' As a happy augury, I accept it. Like the old Romans, you have offered up for me a dainty sacrifice to propitiate Domiduca—the goddess who grants travellers a safe ...
— At the Mercy of Tiberius • August Evans Wilson

... turn from this elemental music, in which the sense of all human things is expressed with the dignity of the elements themselves, to all other operatic music, in which, however noble the music as music (think of Gluck, of Mozart, of Beethoven!), it is for the most part fettered to a little accidental comedy or tragedy, in which two lovers are jealous, or someone is wrongly imprisoned, or a libertine seduces a ...
— Plays, Acting and Music - A Book Of Theory • Arthur Symons

... sonata (as in every transitional stage in musical history) threatened to wreck the art as a false antithesis wrecks a philosophy. Perhaps the only great composers who escaped the direct influence of Bach are Gluck and Berlioz. Even Gluck reproduced in every detail of harmony and figure the first twelve bars of the Gigue of Bach's B flat Clavier-Partita in the aria "Je t'implore et je tremble" in Iphigenie en Tauride. But plagiarism, however unconscious, is a very different thing ...
— Encyclopaedia Britannica, 11th Edition, Volume 3, Part 1, Slice 1 - "Austria, Lower" to "Bacon" • Various

... how each man's heart is so tremulously responsive to the hearts of all men; hast thou noted how omnipotent is the very sound of many men? How their shriek of indignation palsies the strong soul; their howl of contumely withers with unfelt pangs? The Ritter Gluck confessed that the ground-tone of the noblest passage, in one of his noblest Operas, was the voice of the Populace he had heard at Vienna, crying to their Kaiser: Bread! Bread! Great is the combined voice of men; the ...
— The French Revolution • Thomas Carlyle

... strain: it seemed to be supplicating, imploring; it filled me with a restless pain. That cry of "Eurydice!" "Eurydice!" so beseeching, so passionate, so exhausted by longing, drew me with an irresistible power. Gluck certainly achieved the effect he attempted, and showed us what the fabled power of ...
— Lippincott's Magazine, September, 1885 • Various

... impossible to indulge his tastes. It was de rigueur to conduct in either a frock or an evening coat, but if he had his own way he would vary his garb for every composer. For example, he would like to wear a harlequin's dress for STRAUSS, a full-bottomed wig and ruffles for BACH, HAYDN and GLUCK, a red tie and a cap of Liberty for SCHOeNBERG, and the uniform of a Cossack of the Ukraine for TCHAIKOVSKY. Instead of which the utmost liberty that he was allowed was a butterfly tie. He thought that members of the orchestra ought to be permitted ...
— Punch, or the London Charivari, Vol. 146, January 28, 1914 • Various



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