Introduction
Christoph Willibald Gluck’s “Dedication for Alceste” is a preface to the printed score of Alceste (1768) written in 1769 to provide the composer’s explanation of those modifications that he made in relation to the concept of opera. From this point, “Dedication for Alceste” presents the main principles of Gluck’s ‘reform opera’ with detailed interpretations.
Main body
The first main point discussed by Gluck is his rejection of principles of the conventional Italian opera. Gluck stated in his work: “When I undertook to write the music for Alceste, I resolved to divest it entirely of all those abuses … which have so long disfigured Italian opera” (199). These words explain why the composer avoided focusing on a singer and accentuated the role of music and drama in opera. As a result, vocal parts in Alceste are non-virtuosic, and melismas are reduced. Gluck accentuated in the preface: “I have striven to restrict music to its true office of serving poetry by means of expression” (199). Thus, the story expressed by means of music became the focus of opera.
The key principle that guides Gluck’s vision of a ‘reform opera’ is a simplicity principle. Gluck emphasized this idea several times in his preface: “Simplicity, truth, and naturalness are the great principles of beauty in all artistic manifestations” (200). These principles explain why Gluck’s new opera was based on clarity, the lack of vocal improvisation, and the accentuation of the drama.
The intention of writing the preface was to explain why the composer chose to avoid focusing on a singer and changed it with emphasis on music and drama. This approach was revolutionary for the 18th century as the opera utilized Italian standards. Gluck’s reforms were unpredictable and impressive. The composer noted: “I was well aware of all the risk run in combating such firmly and profoundly rooted prejudices” (200). The risk was in the fact that it was a challenge for the opera world to propose such reforms as were presented in both Orfeo ed Euridice (1762) and Alceste (1768).
Conclusion
“Dedication for Alceste” is an important document to be preserved and consulted for understanding how approaches to opera were reformed in the 18th century, and what role in the process was played by Gluck. The preface provides unique information on the specific changes in opera from the composer’s perspective. This fact allows evaluating how these ideas were revolutionary for that period.
Works Cited
Gluck, Christoph Willibald. “Dedication for Alceste (1769).” Source Readings in Music History, Volume 5: The Late Eighteenth Century. Ed. Leo Treitler. New York: W. W. Norton & Company, 1998. 198-200. Print.