Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev9 gluck
Rev9b giron
Rev9c lemoel
Rev9d schneeman
Rev9e picard
Rev9a preface
Rev9f champonnois
Rev9g garde
Rev9h quetin
Rev9i degott

To the question “what does Gluck represent today”, one might retort that the composer is both the victim and the beneficiary of the debates to which his name is associated, and to anyone interested in the theoretical issues of reception, the study of Gluck’s posterity will be of exemplary value. After a brief account of the reasons why Gluck remains an interesting object of study, we shall expatiate on three literary “scenes” which helped construct antithetical and complementary aspects of the musician’s aura. Our first point will be an examination of Gluck as the embodiment of the Enlightenment. We will then show, with Hoffmann, how his persona came to incarnate the most essential aspirations of German romanticism. We will eventually assess how Dominique Fernandez uses Gluck to illustrate an historical caesura after which baroque Europe entered into a stage of decadence. Whether they are called classical, romantic or baroque, all the categories referred to are hardly an invitation to take fictions and discourses at face value. However, the example of Gluck also demonstrates both the impact that fiction and discourses can have on the destiny of musical works, and the necessity to take them into consideration if one is to account for the complexity of musical phenomena.

Les Lumières et la culture musicale européenne :

C.W. Gluck

N° 9 e

Timothée Picard

Université de Rennes 2, CELAM, groupe Phi

Pris dans la toile des discours sur la musique : Gluck, scènes littéraires


Caroline Giron-Panel
Caroline Giron-Panel - "On peut arriver en Italie en passant par la Bohème"

Sylvie Le Moël
Sylvie Le Moël - Gluck et les publicistes des Lumières allemandes

Eric Scheeman
Eric Scheeman - "Gluck in Paris"

Timothée Picard
Timothée Picard - Gluck, scènes littéraires


Cécile Champonnois
Cécile Champonnois - Nicolas François Guillard

Julien Garde
Julien Garde - Iphigénie en Tauride et l'opera seria

Laurine Quetin
Laurine Quetin - "Adieu donc mon cher poulet"

Pierre Degott
Pierre Degott - Les fortunes d'Orfeo ed Euridice sur la scène anglaise