Musicology and Dance Studies

The aim of this thesis is to deepen the understanding of performer-spectator relationship to account for the role presentness, the intensified aesthetic presence, plays in inducing transformations in the audience, within the context of live performances.

Of all Gluck's (operatic) works, "Orpheus and Eurydice" is the only one that has an almost unbroken history of performance and reception from the 18th century to the immediate present. It was written around the middle of the 18th century against the background of far-reaching efforts at renewal: At that time, resistance was forming in all areas of the performing arts against valid aesthetic concepts and against a conception of art that ran counter to the ideas of the European Enlightenment. The reform experiment that emerged in Vienna in the 1760s from the creative collaboration of the circle around Gluck, his lyricist Ranieri de' Calzabigi, the choreographer Gasparo Angiolini, the singer Gaetano Guadagni and others must also be seen against this cultural-historical background. The pantomimic ballet Le Festin de pierre (Don Juan), premiered in October 1761 at the Burgtheater in Vienna, proved to be a "pilot project," followed in 1762 by the Italian Azione teatrale Orfeo ed Euridice, the first opera to emerge from the spirit of the reform impulses for a profound renewal of opera in terms of subject matter, dramaturgy, and music that were being lively discussed at the time.
The innovative potential associated with "Orfeo ed Euridice" (as well as with "Don Juan") has, in the course of a multifaceted history of reception, repeatedly led to new, often experimental adaptations in other artistic genres as well. This also applies to dance in the 20th century, which, especially in times of upheaval, fell back on Gluck's Orpheus opera in its search for new ways of dramatic representation.
Dance artists of the 20th century such as Isadora Duncan, Michel Fokine, George Balanchine, Mary Wigman, Pina Bausch and John Neumeier used Gluck's opera as a vehicle for creative, sometimes radical experiments, for which two approaches can generally be identified: On the one hand, dance-inspired and choreographically elaborate productions of Gluck's opera were created; on the other hand, new dance pieces were created using Gluck's music, the content of which did not necessarily refer to the piece itself.
Under this premise, the article highlights selected Orpheus productions by Isadora Duncan, Émile Jaques-Dalcroze (Hellerau), Mary Wigman, and Pina Bausch.

This volume of the Gluck Complete Edition presents Gluck's music for two ballets by Gasparo Angiolini from the 1760s: (1) Sibylle Dahms' edition of the original version of "Don Juan" (1761) with 15 numbers and an introductory Sinfonia and a performance time of around 20 minutes, and (2) the ballet "Les Amours d'Alexandre et de Roxane" (1764, edition by Irene Brandenburg).
"Don Juan" is a key work for the groundbreaking turning point in the development process of ballet into an independent dance drama in the context of the paradigm shift that brought about a radical reorientation in terms of dramatic means and dramaturgical parameters for all scenic arts during the Enlightenment.
In contrast, Gluck and Angiolini's "Les Amours d'Alexandre et de Roxane" is not as clearly categorised as a "ballet en action". The fact that, in contrast to "Don Juan", no scenario was published for the premiere and that Gluck's music is also largely conventional makes it clear that this ballet represents a kind of hybrid form between a narrative ballet and a divertissement. Perhaps the purpose of the performance, a festive show for Emperor Franz I Stephan's name day on 4 October 1764, also determined the genre to a certain extent, whereby it was probably also a matter of keeping court society reasonably happy.

writers whose errors have been corrected by recent specialists and whom other readers have no need to know. Scepticism is Hunter's watchword, but the principle for trusting non-official documentation (letters, journalism, memoirs) eludes mesometimes it is believed, sometimes notas does the principle for inclusion as evidence (p.1 and 9 give differing lists of relevant material). Handel's autographs, their dates excepted, and his performing scores are excluded. Some will be braced by the buttonholing style ('That Handel became fat during his nearly fifty years in England may be news you thought you could do without', p.255); some will be stimulated by the question marks dangling at the ends of sections ('what were the personal myths that went into Handel's self-making?', p.429). Novel unfootnoted assertions (e.g., that the Brockes Passion was a commission from Hamburg, p.172) and speculation (e.g., that Handel was in love with Princess Caroline, p.439-43) may prompt readers to review their judgements with the aid of the most reliable previous life-and-works: the second edition (2012), not referenced here, of Donald Burrows's Handel, Ellen Harris's Handel: A Life with Friends (2014) and Handel: Collected Documents. Acknowledgement of seminal findings and accurate accounts by predecessors is, to put it mildly, sparse. Now that most academic publishers require ever shorter monographs, it is heartening to see over 40 pages of bibliography (including 60 entries on eating disorders) and 25 pages of index (not all accurate). In his review of Harris's Handel biography (Early Music 43 (2015), p.156-9) Hunter described publishers as the gatekeepers of academic standards; his own repeatedly failed him in the few pages given to Handel's music, some really surprising mistakes appearing in the table on p.230 of '[Some] Embodiments of emotions and states' in some of Handel's compositions. The final sentence reads: 'Every biographer has something to say but none, even this one, can have the last word.' Indeed. The discovery, while this book was in publication, that the librettist of Handel's Solomon was apparently Jewish (Andrew Pink, 'Solomon, Susanna and Moses: locating Handel's lost librettist', Eighteenth Century Music 12 (2015), p.211-22), might have caused an adjustment of the view (p.40-51) that Handel's relationship with London's Jewish community was negligible. As Hunter acknowledges, questions remain to be asked and answered about Handel. Inside this large book is a slimmer revisionist polemic fitting the fashion for deconstructing celebs. It is not a book to recommend to students below graduate levelmuch of it is already available elsewhere, and too many errors and unsubstantiated assertions thread the undoubted gems of archival retrievalor to readers wishing for a biography that describes what Handel didknowledge of his engagements, such as his role in the Royal Academy, is assumedbut it is described as a case study, and as such would make interesting material for a music graduate seminar. For specialists, it is a useful compilation of Hunter's research at an affordable price.

This volume contains six of Gluck's ballet scores from 1759 ("La Promenade," "Les Jardiniers," "Les Turcs," "Les Savoiards," "Les Amours de Flore et Zéphire," and "Le Suisse") as well as the ballet music for "Les Vendanges," which dates from 1761. They belong to the compositions, also called "Krumau ballets" because of their musical tradition, that Gluck created in Vienna between 1759 and 1765 for the court theaters (Burgtheater and Kärntnertortheater) as well as for the castle theaters in Laxenburg and Schönbrunn.
In addition to the volume editor's detailed introduction to the ballet choreographies of Gasparo Angiolini and Carlo Bernardi, to the composition of the ballet troupes of the Viennese theaters in Gluck's early years there, to ballet forms and genres, and to the detailed account of the individual titles, the volume includes a general preface to volumes II/3 through II/5 by Bruce Alan Brown, which discusses Gluck's ballet music in Vienna in general as well as the development of the field of research into this genre.

The tenth issue of Tanz&Archiv focuses on the diverse traces that Vaslav Nijinsky left in the collective dance memory - traces that the authors of the contributions follow in the dance historiography of the 20th century (Franz Anton Cramer), in memories of personal encounters with Romola Nijinsky in the context of her efforts to 'reconstruct' Nijinsky's dance works in the 1970s (Angela Dauber), in current research on Nijinsky's dance writing (Claudia Jeschke) and in flanking, contextualizing and methodological discussions (Anja K. Arend and Gabriele Klein). Traces of the 'myth of Nijinsky' are also sedimented in concrete materials, namely in a suitcase with notes, sketches, photographs, costumes, and memorabilia that Romola Nijinsky entrusted to the Bibliothèque-musée de l'Opéra in Paris in 1950 for (temporary) safekeeping - "un trésor de souvenirs" in the words of dance critic and researcher Françoise Reiss.

This volume contains six of Gluck's ballet scores, which were composed in Vienna between October 1760 and summer 1765 and - with the exception of the ballet 'Achille in Sciro' - were performed under Gluck's direction at one of the two court theaters (Burgtheater or Kärntnertortheater) resp. at the Schlossstheater in Laxenburg. They represent only a comparatively small part of the ballet repertoire for which Gluck was responsible during these years: a total of 24 pieces whose music was "composed" by Gluck can be traced for this period, although a musical source has survived only for the six works mentioned. As the ballet compositions published in the volumes II/3 and II/4 of the Gluck-Gesamtausgabe, they belong to the so-called "Krumau ballets", a collection of mostly anonymous ballet music from the second half of the 18th century, now kept in the State District Archives in Český Krumlov (CZ-K), and are presented in print for the first time in this volume.

The proceedings in this publication derive from the international conference Times for Change: Transnational Migrations and Cultural Crossings in Nineteenth-Century Dance (Salzburg, 28–30 November 2019), which was realized as a transnational cooperation among university and non-university dance institutions in Italy, France, and Austria: AIRDanza (Associazione Italiana per la Ricerca sulla Danza), aCD (association des Chercheurs en Danse), and the Paris Lodron Universität Salzburg (Fachbereich Kunst-, Musik- und Tanzwissenschaft). Researchers with diverse scholarly and artistic backgrounds from Europe and the United States gathered to address the multifaceted spectrum of nineteenth-century dance cultures. The focus was on the phenomena of artists’ mobilities, exchanges, and transfer processes between cultural spaces and metropolises, as well as on the interconnections and interdependencies among artistic networks, choreographic practices, and specific institutional and sociocultural contexts.

When are high male voices "different"? And how do composers, performers, and audiences in different temporal, aesthetic, and institutional contexts deal with the facets of the "other" in terms of voice, sound, interpretation, and role profiles? The publication focuses on current research questions around the fascination of the high male voice in the field of tension between historically evolved gender constructions, mechanisms of perception, and aesthetics of performance: from castrato singing in the 17th and 18th centuries to voice and sound phenomena in pop and rock to music theater of the present.

Gluck is one of the most important music dramatists of the second half of the 18th century. His name and his work are associated with the concept of Gluck's "opera reform," through which the composer made an essential and forward-looking contribution to the development of musical theater. The aim of this volume is to introduce the reader to the composer's musical world and to trace the associated innovations in the conception of opera as a work of art. The first chapter discusses aesthetic prerequisites and music-dramaturgical concepts of opera reform. The second chapter is devoted to Gluck's work in Vienna and the works composed there, while the third chapter deals with the reform operas composed for Paris and the effect they had on the public. The last chapter gives an outlook on the history of Gluck's impact in the 19th century, thus rounding off this volume. All in all, a lively and detailed picture of the composer Gluck emerges, which is colorfully accessible to the expert reader as well as to the layman.

This volume, produced on the occasion of the 75th birthday of the well-known musicologist Gerhard Croll (1927-2019), contains some 50 lectures and essays from three decades. The broad spectrum of contributions ranges from biographical writings to work considerations (not only of Gluck's "reform works") to instrumental and iconographic studies, and includes current questions of performance practice. The volume thus conveys a multifaceted picture of Gluck the composer in the musical and cultural-political context of his time and at the same time impressively reveals the research personality of the author.

Editorial to the proceedings of the international conference "Times for Change: Transnational Migrations and Cultural Crossings in Nineteenth-Century Dance" (Salzburg, 2019), with focus on the multifaceted spectrum of nineteenth-century dance cultures, on the phenomena of artists’ mobilities, exchanges, and transfer processes between cultural spaces and metropolises, as well as on the interconnections and interdependencies among artistic networks, choreographic practices, and specific institutional and sociocultural contexts.

The papers presented in the third volume of "Gluck-Studien" are by four authors from Austria, the Czech Republic, and the United States, who worked independently of each other and with different objectives in the 1980s and 1990s. All contributions deal with the transmission of the works of Christoph Willibald Gluck in Vienna and Bohemia, under the title "Beiträge zur Wiener Gluck-Überlieferung". It is thus dedicated to an area of basic research that has been repeatedly addressed in the 20th century: the cataloguing and indexing of sources on Gluck's works. The four contributions take this into account and speak, each in its own way, for themselves. Their results may inspire continuation above all, but also contradiction and discussion. This is true for the evaluation of the manuscript Viennese sources on the "reform" operas (Thomas A. Denny), in particular on "Orfeo ed Euridice", as well as for the identification of contemporary Gluck copyists in Vienna (Josef-Horst Lederer) and for the Gluck tradition in manuscripts and prints in Bohemia and its relations with Vienna (Jiří Záloha), but also for the catalog of Gluck libretti in Viennese collections (Elisabeth Th. Hilscher), which goes beyond Claudio Sartori's catalog not only by including director's books and parodies as well as the (complete) editions of Gluck's text poets Calzabigi, Favart, and especially Metastasio.

The dissertation considers life and works of the Italian castrato singer and composer Vito Giuseppe Millico (1737-1802). The first part is dedicated to the singing career of Millico which brought him in many operatic centres of Europe, as St. Petersburg, Parma, Vienna and London.
In 1769, the already famous soprano Millico met the composer Christoph Willibald Gluck in Parma where he sung the role of Orfeo in Gluck's Festa teatrale 'Le feste d'Apollo'. This meeting was decisive and portentous for Millico because Gluck's ideas of opera reform made a great impression upon the singer. That's the reason why Millico, one year later, went to Vienna where Gluck gave him accommodation in his house. In Vienna, Millico performed the roles of Orfeo, Admeto and Paride in works of Gluck and teached Gluck's niece in singing. From Vienna he went to London, and about 1780 he returned to Naples where he lived until his dead in 1802. In London, Millico had begun to compose a lot of songs for soprano and harp or harpsichord, called 'canzonets' or 'canzonette'. After his return to Naples, Millico was also composer of operas: in 1782 he published in Naples his first dramatic work, 'La pieta d'Amore', in 1783 followed 'Ipermestra o Le Danaidi', libretto from Raniero de' Calzabigi. The second part of the dissertation considers Millico as a composer, taking into consideration especially the dramatic works 'Ipermestra o Le Danaidi' and 'Le cinesi' and the canzonets. An appendix contents a catalogue of the singing repertory of Millico in chronological order and an index of Millico's works.

The present edition of "Tanz&Archiv" addresses by way of case studies the evidently manifest, yet thus far historiographically neglected working environments of nineteenth-century choreo-graphers, dancers, and ballet masters, as well as the striking genre porosity in the performing arts of the period. These aspects come together in the materializations, practices, and professions involved in public performance. From the historico-agential perspective assumed here, the movement concepts operate in a transferable manner, subverting the boundaries between professions as much as between theatrical, performative genres. Even if there is (preliminarily?) some theoretical instability to this research aspect, it can already open view to a wide array of practised forms of knowledge. This is a view that functions as a switching point for alternative models in the engagement with historicity and ‘temporality’, and their instrumental, aesthetic, and institutional variability. It thus constitutes an attempt to sharpen and vitalize the methodology of a yet blurry historical praxeology.
The dance and movement materials, the aesthetic variability, and the institutionalizations found in the various nineteenth-century performance arts (dance, opera, circus, variety shows) point to both striking and alluring praxeological and aesthetic intersections. A multitude of previously little studied documents and scores testify not only to their authors’ (choreographers and dancers) high professional competency in terms of dance-related movement on stage, but also provide a sharpened image of the capacities for testing genre divisions found in the period-typical movement arts more generally. As the materials present a variety of translation techniques and media (movement sketches and notations, verbal descriptions, illustrations), and as they function in a variety of contexts, they can be read as multi-narrative documents of manifold cultural approaches to ‘bodies in performance’ and their actions.

The present edition of "Tanz&Archiv" addresses by way of case studies the evidently manifest, yet thus far historiographically neglected working environments of nineteenth-century choreo-graphers, dancers, and ballet masters, as well as the striking genre porosity in the performing arts of the period. These aspects come together in the materializations, practices, and professions involved in public performance. From the historico-agential perspective assumed here, the movement concepts operate in a transferable manner, subverting the boundaries between professions as much as between theatrical, performative genres. Even if there is (preliminarily?) some theoretical instability to this research aspect, it can already open view to a wide array of practised forms of knowledge. This is a view that functions as a switching point for alternative models in the engagement with historicity and ‘temporality’, and their instrumental, aesthetic, and institutional variability. It thus constitutes an attempt to sharpen and vitalize the methodology of a yet blurry historical praxeology.
The dance and movement materials, the aesthetic variability, and the institutionalizations found in the various nineteenth-century performance arts (dance, opera, circus, variety shows) point to both striking and alluring praxeological and aesthetic intersections. A multitude of previously little studied documents and scores testify not only to their authors’ (choreographers and dancers) high professional competency in terms of dance-related movement on stage, but also provide a sharpened image of the capacities for testing genre divisions found in the period-typical movement arts more generally. As the materials present a variety of translation techniques and media (movement sketches and notations, verbal descriptions, illustrations), and as they function in a variety of contexts, they can be read as multi-narrative documents of manifold cultural approaches to ‘bodies in performance’ and their actions.