Gluck, Cristoph Willibald. (1714–1787). Musique Sacrée, No. 6. DE PROFUNDIS...Partition et Parties Executé a Vienne et a Paris. Traduction de P. Porro. Orgue ou Piano de F. Dietrich. . Paris: P.Porro. [ca. 1805]. First Edition, variant. Title; music score 2-21 pp.; 8 individual instrumental parts of 4 conjoined leaves, each numbered 2-3. Engraved throughout. [PN] G.6. 185. Title foxed, edges rough, otherwise very good. Hopkinson 50 A (d), "exactly the same" as (c), but with the address of the publisher from "some time between 1804-1809." This edition combines a part for organ or pianoforte with the orchestral score and "is thus the first appearance of a piano and vocal score." (Hopkinson)
"Gluck wrote his setting of De Profundis in 1782. It belongs to the very last years of his life: Echo et Narcisse, his last opera, was produced in 1779 and he died in 1787 having completed no other music. In no sense, however, was De Profundis intended to be a 'farewell' work, just as Echo was not to have been his last opera. ... In De Profundis, Gluck seems to be overwhelmingly concerned with colour: instrumental, vocal, harmonic. The instrumentation is strikingly conceived - lower strings; oboe, bassoon and horn, and three trombones - and used as we would expect from Gluck with an effectiveness appropriate both to the instruments and to the mood of the work." (Patricia Howard, "A Note on Gluck's 'De Profundis,'" The Musical Times, vol. 105, p. 352)
At the formal commemoration of Gluck's death on April 8, 1788, his friend and pupil, Antonio Salieri, conducted this work.
"Gluck wrote his setting of De Profundis in 1782. It belongs to the very last years of his life: Echo et Narcisse, his last opera, was produced in 1779 and he died in 1787 having completed no other music. In no sense, however, was De Profundis intended to be a 'farewell' work, just as Echo was not to have been his last opera. ... In De Profundis, Gluck seems to be overwhelmingly concerned with colour: instrumental, vocal, harmonic. The instrumentation is strikingly conceived - lower strings; oboe, bassoon and horn, and three trombones - and used as we would expect from Gluck with an effectiveness appropriate both to the instruments and to the mood of the work." (Patricia Howard, "A Note on Gluck's 'De Profundis,'" The Musical Times, vol. 105, p. 352)
At the formal commemoration of Gluck's death on April 8, 1788, his friend and pupil, Antonio Salieri, conducted this work.
Gluck, Cristoph Willibald. (1714–1787). Musique Sacrée, No. 6. DE PROFUNDIS...Partition et Parties Executé a Vienne et a Paris. Traduction de P. Porro. Orgue ou Piano de F. Dietrich. . Paris: P.Porro. [ca. 1805]. First Edition, variant. Title; music score 2-21 pp.; 8 individual instrumental parts of 4 conjoined leaves, each numbered 2-3. Engraved throughout. [PN] G.6. 185. Title foxed, edges rough, otherwise very good. Hopkinson 50 A (d), "exactly the same" as (c), but with the address of the publisher from "some time between 1804-1809." This edition combines a part for organ or pianoforte with the orchestral score and "is thus the first appearance of a piano and vocal score." (Hopkinson)
"Gluck wrote his setting of De Profundis in 1782. It belongs to the very last years of his life: Echo et Narcisse, his last opera, was produced in 1779 and he died in 1787 having completed no other music. In no sense, however, was De Profundis intended to be a 'farewell' work, just as Echo was not to have been his last opera. ... In De Profundis, Gluck seems to be overwhelmingly concerned with colour: instrumental, vocal, harmonic. The instrumentation is strikingly conceived - lower strings; oboe, bassoon and horn, and three trombones - and used as we would expect from Gluck with an effectiveness appropriate both to the instruments and to the mood of the work." (Patricia Howard, "A Note on Gluck's 'De Profundis,'" The Musical Times, vol. 105, p. 352)
At the formal commemoration of Gluck's death on April 8, 1788, his friend and pupil, Antonio Salieri, conducted this work.
"Gluck wrote his setting of De Profundis in 1782. It belongs to the very last years of his life: Echo et Narcisse, his last opera, was produced in 1779 and he died in 1787 having completed no other music. In no sense, however, was De Profundis intended to be a 'farewell' work, just as Echo was not to have been his last opera. ... In De Profundis, Gluck seems to be overwhelmingly concerned with colour: instrumental, vocal, harmonic. The instrumentation is strikingly conceived - lower strings; oboe, bassoon and horn, and three trombones - and used as we would expect from Gluck with an effectiveness appropriate both to the instruments and to the mood of the work." (Patricia Howard, "A Note on Gluck's 'De Profundis,'" The Musical Times, vol. 105, p. 352)
At the formal commemoration of Gluck's death on April 8, 1788, his friend and pupil, Antonio Salieri, conducted this work.