- Dahlhaus, Carl. “Ethos and Pathos in Gluck’s Iphigenie auf Tauris.” Musik-
forschung27 (1974): 289–300.
An imaginative perspective, drawing on the philosophic concepts of ethos
(Apollonian) and pathos (Dionysian). Iphigenie represents ethos, and Orestes
is pathos. Poised as he was between the baroque (pathos) and classical (ethos)
eras, Gluck balanced these two elements in his music. - Cumming, Julie E. “Gluck’s Iphigenia Operas: Sources and Strategies.” In
Opera and the Enlightenment(#91), 217–240.
The myth is traced from Euripedes to Racine, whose version was the source of
the opera libretti of the 18th century. Pre-Gluckian settings had been made by
Domenico Scarlatti, Caldara, Porpora, Sarti, Graun, Jommelli, Pasquini,
Traetta, Galuppi, and others. There is discussion of some of these, indicating
musical and dramatic borrowings. Gluck’s versions of the recognition/sacrifice
scene are detailed. All sources are described in extensive backnotes. - Rushton, Julian. “Iphigénie en Tauride: The Operas of Gluck and Piccinni.”
M&L53-4 (October 1972): 411–430.
Gluck’s version premiered in Paris in 1779, Piccinni’s in 1781. The contrasting
styles were at the heart of the Quarrel of the Buffoons (see #2257ff). Rushton
makes a detailed comparison of the two settings, number by number, and
declares Gluck the winner. Earlier literature is recalled through 20 footnotes.
See also Schmierer (#1415).
Orfeo ed Euridice
ASO 23 (1979), COH (1981), Rororo (1988).
- La Laurencie, Lionel de. “Orphée” de Gluck. Paris: Mellottée, 1934. 349p.
ML410 .G5 L3.
A discursive study of the Vienna and Paris versions, with genesis accounts and
performance histories in Europe up to the 1920s. Also a consideration of the
Orpheus myth in literature and opera. Gluck’s Orfeo,says La Laurencie, is the
oldest opera that is relevant to modern listeners. - Heartz, Daniel. “Orfeo ed Euridice: Some Criticisms, Revisions, and Stage-
Realizations During Gluck’s Lifetime.” In Gluck e la cultura(#885), 383–394.
Examines critical responses to the Vienna premiere (1762) of Gluck’s first ver-
sion and later productions in London, Parma, Munich, and Stockholm. Con-
siders revisions made in the score for those performances. - Finscher, Ludwig. “Orphée et Euridice”: Vorwort und kritischer Bericht.Kas-
sel: Bärenreiter, 1967. xxxviii, 367p.
Issued as part of the Sämtliche Werke(#879), v.1–6. A thorough history of the
Paris version, with reviews reprinted, and of later performances to 1820.
Questions of authenticity are taken up, regarding ballet sections and other
elements.
Christoph Willibald Gluck 179