Glover

(gltiv’-ér), (1) Sarah Ann, Norwich, Engl., 1785—Malvern, 1867; inv. the Tonic Sol-fa system of notation and wrote about it. (2) Chas. W., Feb., 1806—London, 1863; violinist, etc. (3) Stephen, London, R072——Deen 17; uS70; teacher. composer. (4) W. Howard, London, 1819— New York, 1875; violinist and critic;sang in opera. (5) John Wm., Dublin, June 19, 1815—Jan. 15, I900; the Cathedral from 1860; c. opera ““The Deserted Village’ (London, 1880), etc. Gluck (glook), (1) Chris toph Wilibald (Ritter von), We i den wang, near Neumarkt, Upper Palatinate, July 2, r714—Vienna, Nov. 15, 1787; son of head-gamekeeper to Prince Lobkowitz; at twelve sent to the Jesuit Coll. at Komotau (1726-32), where he learnt the violin, clavecin, and organ, and was chorister in the Ch. of St. Ignaz; at eighteen he went to Prague, earning a living by playing at rural dances, giving concerts and singing and playing in various churches; under the tuition of Father he mastered and the ’cello, his favourite instr.; 1736 entered the service of Prince Melzi, Vienna, who took him to Milan and had him study harm. and cpt. with Sam martin i. After four years’ study he prod. ‘“‘Artaserse”’ (La Scala, 1741) with great succ. and was commi ioned to c. for other theatres; prod. 8 operas 1742-45. On invitation he went to London 1745 as composer for the Hay market, in opposition to Handel. ‘“‘La Caduca dei Giganti’’ was given on the 1746, of the Pretender, Art amene,’”’ followed by “‘Piramo e Tisbe,” a pasticcio of his best arias, had no succ. and led Handel to say that the music was detestable, and that Gluck knew no more counterpoint than his cook. The operas G. had written up to this time were thoroughly Italian. The influence of Handel and Rameau’s works heard at Paris awakened him, and led him to that gradual reform which made him immortal, though it brought on ' him the most ferocious “La opposition. Rico no sci uta”? (Vienna, 1748) began the change to more serious power. 1750-62 he prod. ‘‘Telemaco’’ (Rome, 1750), “La Clemenza di Tito’ (Naples, 1751), and 4 others. 1754-64 he was dir. court-opera Vienna anu prod. 6 more works. He made great succ. in spite of opposition with “Orfeo ed Euridice” (1762), ‘‘ Alceste” (1767), ‘‘Paride ed Elena” (1769), libretti by Calzabigi. 2 other inferior works. were performed by members of the royal family (176s). In the dedicatory prefaces to ‘‘Alceste’”’ and ‘‘Paride ed Elena,’ G. expre ed his protest against the Italian school, and declared for dramatic consistency unhampered by rigid for mule for arias, duets, etc., and interpolated cadenzas. He had such harsh criticism at home and such encouragement from du Rollet of the French Emba y at Vienna in 1772 that he went to Paris. here also he met such opposition that all his diplomacy and all the power of his former pupil, Queen Marie Antoinette, hardly availed to bring about the presentation of “Tphigénie en Aulide”’ (1774); its great succ. was repeated in ‘“‘Orpheé’ (Aug., 1774), ‘‘Alceste” (1776), and ‘‘Armide’”’ (1777). Piccinni was brought to Paris as a rival, and prod. ‘Roland’? while Gluck was preparing the same subject.