July 2, 1714:
Christoph Willibald Ritter von Gluck is born in House no.11 (now Ringstraße 16) in Erasbach, Oberpfalz, Electorate of Bavaria in the Holy Roman Empire, the eldest of six surviving children of Alexander Johannes Gluck, a forester, and Maria Walburga Gluck.
November 4, 1752:
La clemenza di Tito, a dramma per musica by Christoph Willibald Gluck (38) to words of Metastasio, is performed for the first time, in Teatro San Carlo, Naples.
September 24, 1754:
Le cinesi, a componimento drammatico by Christoph Willibald Gluck (40) to words of Metastasio, is performed for the first time, in the Schlosshof, near Vienna for a visit by Empress Maria Theresia to the summer home of Prince Joseph Friedrich von Sachsen-Hildburghausen.
October 12, 1754:
The Wienerisches Diarum refers to Christoph Willibald Gluck (40) as “Fürstl. Capell-meister” to Prince Joseph Friedrich von Sachsen-Hildburghausen.
October 18, 1754:
Empress Maria Theresia appoints Christoph Willibald Gluck (40) as Imperial and Royal Chamber Composer.
May 5, 1755:
Christoph Willibald Gluck’s (40) componimento pastorale La danza to words of Metastasio, is performed for the first time, at the Laxenburg, the summer palace near Vienna for the birthday of Archduke Leopold.
December 8, 1755:
L’innocenza giustificata, a festa teatrale by Christoph Willibald Gluck (41) to words of Durazzo and Metastasio, is performed for the first time, in the Vienna Burgtheater for the birthday of Emperor Franz.
February 9, 1756:
Antigono, a dramma per musica by Christoph Willibald Gluck (41) to words of Metastasio, is performed for the first time, in Teatro Argentina, Rome. During his time in Rome, Gluck is named a Knight of the Golden Spur.
December 8, 1756:
Christoph Willibald Gluck’s (42) dramma per musica Il rè pastore to words of Metastasio is performed for the first time, in the Burgtheater, Vienna for the birthday of Emperor Franz. Also born today is the Emperor’s son, Archduke Maximilian Franz, who in 1784 will become the patron of the young Ludwig van Beethoven.
January 8, 1758:
La fausse esclave, an opéra comique by Christoph Willibald Gluck (43) to words after Anseaume and Marcouville, is performed for the first time, in the Vienna Burgtheater.
October 3, 1758:
Christoph Willibald Gluck’s (44) opéra comique L’île de Merlin, ou Le monde renversé to words of Anseaume after Le Sage and d’Orneval, is performed for the first time, at the Schönbrunn Palace, Vienna for the nameday of Emperor Franz (which is actually tomorrow).
May 28, 1759:
Le diable à quatre, ou La double métamorphose, an opéra comique by Christoph Willibald Gluck (44) to words of Sedaine and Baurans after Coffey, is performed for the first time, in the Laxenburg, near Vienna.
August 13, 1759:
Les amours de Flore et Zéphire, a ballet by Christoph Willibald Gluck (45) to a choreography by Angiolini, is performed for the first time, in the Schönbrunn Palace, Vienna.
October 3, 1759:
Christoph Willibald Gluck’s (45) opéra comique L’arbre enchanté, ou Le tuteur dupé to words after Vadé is performed for the first time, in the Schönbrunn Palace, Vienna for the name day of Emperor Franz (tomorrow). See 27 February 1775.
October 10, 1760:
Tetide, a serenata by Christoph Willibald Gluck (46) to words of Migliavacca, is performed for the first time, in the Vienna Hofburg to celebrate the wedding of Crown Prince Joseph to Princess Isabella of Parma.
March 23, 1761:
La halte des Calmouckes, a ballet by Christoph Willibald Gluck (46) to a choreography by Angiolini, is performed for the first time, in the Burgtheater, Vienna.
October 17, 1761:
Don Juan, ou Le festin de Pierre, a pantomime by Christoph Willibald Gluck (47) to a scenario by Angiolini, is performed for the first time, in the Burgtheater, Vienna.
December 8, 1761:
Le cadi dupé, an opéra comique by Christoph Willibald Gluck (47) to words after Le Monnier, is performed for the first time, in the Burgtheater, Vienna for the birthday of Emperor Franz. It is very successful.
September 15, 1762:
Christoph Willibald Gluck’s (48) pantomime La Citera assediata to words of Angiolini, is performed for the first time, in the Burgtheater, Vienna.
October 5, 1762:
Orfeo ed Euridice, an azione teatrale by Christoph Willibald Gluck (48) to words of Calzibigi, is performed for the first time, in the Burgtheater, Vienna for the name day of Emperor Franz. Many members of the court are in attendance. It is a tremendous success and will have 19 performances this year alone.
January 21, 1763:
Count Durazzo petitions Empress Maria Theresia for an annual pension of 600 gulden for Christoph Willibald Gluck (48) in an attempt to retain his services.
March 24, 1763:
Christoph Willibald Gluck (48) and Carl Ditters (23) depart Vienna for Bologna to produce Gluck’s Il trionfo di Clelia.
April 26, 1763:
Christoph Willibald Gluck (48) receives a pension of 600 gulden from Empress Maria Theresia.
May 14, 1763:
Il trionfo di Clelia, a dramma per musica by Christoph Willibald Gluck (48) to words of Metastasio, is performed for the first time, to open the new Teatro Comunale, Bologna. According to Carl Ditters (23), “it pleased immensely, notwithstanding that it was not by a long way performed as the composer had imagined it.” The work will ultimately fail.
June 6, 1763:
Christoph Willibald Gluck (48) and Carl Ditters (23) return to Vienna from Bologna where they produced Gluck’s Il trionfo di Clelia. Ditters immediately asks Count Durazzo for four weeks dispensation from playing a concerto in public. He has written several in Italy and wants to rehearse them.
November 27, 1763:
The wife of Archduke Joseph, Isabella of Parma, dies thus closing all the theaters in Vienna and postponing the premiere of revised version of Les pèlerins de la Mecque by Christoph Willibald Gluck (49).
December 26, 1763:
A second version of Ezio, a dramma per musica by Christoph Willibald Gluck (49) to words of Metastasio, is performed for the first time, in the Vienna Burgtheater. The ballet music is by Florian Leopold Gassmann (34).
January 7, 1764:
Christoph Willibald Gluck’s (49) opéra comique La rencontre imprévue to words of Dancourt after Le Sage and d’Orneval is performed for the first time, in the Burgtheater, Vienna.
October 4, 1764:
Les amours d’Alexandre et de Roxane, a ballo pantomimo by Christoph Willibald Gluck (50) to a choreography by Angiolini, is performed for the first time, in the Burgtheater, Vienna for the name day of Emperor Franz.
January 24, 1765:
Il Parnaso confuso, an azione teatrale by Christoph Willibald Gluck (50) to words of Metastasio, is performed for the first time, in the Schönbrunn Palace, Vienna, during the festivities surrounding the wedding of Crown Prince Joseph to Bavarian princess Maria Josepha. The production is directed from the harpsichord by Leopold, the second son of Emperor Franz I (himself later Emperor Leopold II).
January 30, 1765:
Christoph Willibald Gluck’s (50) dramma per musica Telemaco, ossia L’isola di Circe to words of Coltellini after Capece is performed for the first time, in the Burgtheater, Vienna. This is the second offering by Gluck for the festivities surrounding the wedding of Crown Prince Joseph to Bavarian princess Maria Josepha.
January 31, 1765:
Semiramis, a pantomime by Christoph Willibald Gluck (50) to a scenario by Angiolini after Voltaire, is performed for the first time, at the Burgtheater, Vienna. This is the third offering by Gluck for the festivities surrounding the wedding of Crown Prince Joseph to Bavarian princess Maria Josepha.
May 17, 1765:
Zophilette, a pasticcio including music of Baldassare Galuppi (58), Christoph Willibald Gluck (50), Niccolò Jommelli (50), Tommaso Traetta (38), Niccolò Piccinni (37) and Johann Christian Bach (29) to words of Marmontel, is performed for the first time, in Paris.
May 19, 1765:
Christoph Willibald Gluck’s (50) ballo pantomimo Iphigenia in Aulide, to a choreography by Angiolini is performed for the first time, at the Laxenburg, near Vienna.
February 22, 1767:
Il prologo, by Christoph Willibald Gluck (52) to words of del Rosso, is performed for the first time, in Teatro della Pergola, Florence. It was composed to celebrate the birth of a child to Grand Duke Leopoldo of Tuscany and his wife, Maria Luisa of Spain.
December 26, 1767:
Christoph Willibald Gluck’s (53) tragedy Alceste, to words of Calzibigi after Euripedes, is performed for the first time, in the Burgtheater, Vienna. It is not well received. See 23 April 1776.
August 24, 1769:
La feste d’Apollo, an opéra by Christoph Willibald Gluck (55) to words of Frugoni, Calzabigi, Pagnini and Pezzana, is performed for the first time, at the court in Parma. A good part of it is taken from earlier compositions by Gluck.
October 11, 1769:
Christoph Willibald Gluck (55) and Franz Lopresti each buy a 25% interest in the Viennese theatrical productions of the Venetian Giuseppe d’Afflisio. Afflisio will be bankrupt within a month.
November 13, 1769:
Christoph Willibald Gluck (55) writes to Prince Wenzel Anton Kaunitz asking for help in his financial debacle after the bankruptcy of Giuseppe d’Afflisio. Kaunitz refuses.
December 31, 1769:
After unsuccessful appeals to Prince Wenzel Anton Kaunitz and Emperor Joseph II, Christoph Willibald Gluck (55) writes once again to Kaunitz for help in his legal and financial difficulties after the bankruptcy of Giuseppe d’Afflisio. (Kaunitz’s answer is not extant.)
March 30, 1770:
Christoph Willibald Gluck (55) withdraws his financial stake in the shady theatrical management of Giuseppe d’Afflisio. He does not lose money, but his standing at court is damaged.
April 7, 1770:
Christoph Willibald Gluck’s (55) Orfeo ed Euridice opens in London with seven arias contributed by Johann Christian Bach (34).
November 3, 1770:
Paride ed Elena, a dramma per musica by Christoph Willibald Gluck (56) to words of Calzabigi, is performed for the first time, in the Burgtheater, Vienna. Reports of its reception are mixed.
September 2, 1772:
Charles Burney meets Christoph Willibald Gluck (56) for the first time at his country home in St. Marx. Iphegenie en Aulide is already completed.
February 3, 1773:
A letter from Christoph Willibald Gluck (58) appears in the Mercure de France. The composer explains and defends his new ideas about setting the French language in opera as opposed to traditional Italian opera. It only serves to fuel an already raging debate between advocates of the two approaches.
April 19, 1774:
Iphigénie en Aulide, a tragédie opéra by Christoph Willibald Gluck (59) to words of DuRoullet after Racine after Euripedes, is performed for the first time, at the Paris Opéra. It was scheduled for 13 April, but when a lead singer caught a cold, Gluck changed the date of the premiere, even though many members of the royal family planned to attend. As it turned out, the royal family adjusted their schedule to accommodate Gluck. More than any other, this work solidifies Gluck’s success with the Parisian public. The initial response is mixed, but Gluck is strongly supported by the Dauphine, Marie Antoinette, who was once a student of the composer.
July 28, 1774:
Two months after the death of King Louis XV, Voltaire writes, “It seems to me that you Parisians are about to witness a great and peaceful revolution both in your government and in your music. Louis XVI and Gluck (60) will found a new French nation.” (Keefe, 319)
August 2, 1774:
Orphée et Eurydice, a tragédie opéra by Christoph Willibald Gluck (60) to words of Moline after Calzabigi, is performed for the first time, at the Paris Opéra. See 5 October 1762.
October 18, 1774:
By decree of Empress Maria Theresia, Chistoph Willibald Gluck (60) is created Imperial Court Composer in Vienna, “in consideration of his thorough knowledge of music and his proven especial skill, as also an ability practiced in various compositions.”
February 27, 1775:
A second version of L’arbre enchanté by Christoph Willibald Gluck (60) to words of Moline after Vadé, is performed for the first time, at the Versailles opera house. See 3 October 1759.
August 1, 1775:
La Cythère assiégée, an opéra-ballet by Christoph Willibald Gluck (61) to words of Favart, is performed for the first time, at the Académie Royale de musique, Paris. It is a revision of Gluck’s 1759 opéra-comique. The response is not favorable.
April 23, 1776:
Alceste, a tragédie opéra by Christoph Willibald Gluck (61) to words of Calzibigi in a French translation by Lebland du Roullet, is performed for the first time, at the Paris Opéra. The third act is not well received but the work will eventually succeed. See 26 December 1767.
May 29, 1777:
Christoph Willibald Gluck (62) arrives in Paris to produce Armide. He is granted an immediate audience with his most ardent supporter in France, Queen Marie Antoinette.
September 23, 1777:
Armide, a drame héroique by Christoph Willibald Gluck (63) to words of Quinault after Tasso, is performed for the first time, at the Paris Opéra. It is received blandly by the audience.
March 1, 1778:
Christoph Willibald Gluck (63) arrives back in Vienna from Paris.
March 14, 1778:
Houdon’s bust of Christoph Willibald Gluck (63) is placed in the Paris Opéra, next to those of Jean-Baptiste Lully (†90) and Jean-Philippe Rameau (†13).
May 18, 1779:
Iphigenie en Tauride, a tragedy by Christoph Willibald Gluck (64) to words of Guillard after Guymond de La Touche after Euripides, is performed for the first time, at the Paris Opéra. The work enjoys an immediate success.
July 30, 1779:
While preparing Echo et Narcisse for the Paris Opéra, Christoph Willibald Gluck (65) suffers his first stroke. He will recover. Rehearsals for the opera are cancelled until early September.
September 24, 1779:
Christoph Willibald Gluck’s (65) drame lyrique Echo et Narcisse to words of Tschudi after Ovid, is performed for the first time, at the Paris Opéra. It will fail after only nine performances.
October 7, 1779:
Because of the poor reception of Echo et Narcisse on 24 September, Christoph Willibald Gluck (65) departs Paris.
October 23, 1781:
Iphigenia auf Tauris, a tragic singspiel by Christoph Willibald Gluck (67) to words of von Alxinger and the composer after Guillard, is performed for the first time, in the Vienna Burgtheater. See 18 May 1779.
August 8, 1782:
Wolfgang Amadeus Mozart (26) dines with Christoph Willibald Gluck (68) in Vienna.
March 23, 1783:
Wolfgang Amadeus Mozart (27) gives a benefit concert for himself before an overflow crowd, including Emperor Joseph II, in the Burgtheater, Vienna. The program includes the Symphony K.385, an aria from Idomeneo, Piano Concerto K.415, the concert aria Misera! dove son...Ah! non son io (to words of Metastasio) K.369, movements three and four from the Serenade in D K.320, Piano Concerto K.369 including the rondo-finale K.382, an aria from Lucio Silla, improvised variations on a theme of Paisiello (42) K.398 (encored), improvised variations on a theme of Gluck K.455, and the Recitative and Rondo K.416. Among the audience is Christoph Willibald Gluck (68). It is a gigantic success.
April 26, 1784:
Les Danaïdes, a tragédie lyrique by Antonio Salieri (33) to words of DuRoullet and Tschudi after Calzabigi, is performed for the first time, at the Paris Opéra. In an attempt to encourage attention and sales, Salieri is listed as co-composer with Christoph Willibald Gluck (69). Gluck will eventually announce publicly that he had nothing to do with the work. See 16 May 1784.
May 16, 1784:
A letter from Christoph Willibald Gluck (69) appears in the Journal de Paris. He names Antonio Salieri (33) as the sole author of Les Danaïdes and says that he had nothing to do with its composition. See 26 April 1784.
April 2, 1786:
Christoph Willibald Gluck (71) signs his will in Vienna leaving everything to his “beloved wife Maria Anna von Gluck, née Bergin.”
November 14, 1787:
16:00 While on a drive with his wife in Vienna, Christoph Willibald Gluck (73) suffers a fourth stroke.
November 15, 1787:
Christoph Willibald Gluck dies at his home "Zum silbernen Löwen" at 4, Wiedner Haupststraße 32 in Vienna, Archduchy of Austria after suffering his fourth stroke, aged 73 years, four months, and 13 days. Among those attending is Antonio Salieri (37).
November 17, 1787:
A setting of De profundis by Christoph Willibald Gluck is performed for the first time, at the composer’s funeral in Vienna. It is conducted by Antonio Salieri (37) to whom Gluck gave the score shortly before his death. Gluck’s earthly remains are laid to rest in the cemetery of Matzleinsdorf.
December 7, 1787:
Wolfgang Amadeus Mozart (31) is appointed Imperial and Royal Chamber Composer to replace Christoph Willibald Gluck (†0). It carries with it a salary of 800 gulden.
March 5, 1793:
Le jugement de Paris, a ballet with music by Christoph Willibald Gluck (†5), Joseph Haydn (60), Ignaz Pleyel (35), Étienne-Nicolas Méhul (29), and Rodolphe Kreutzer (26) to a scenario by Gardel, is performed for the first time, at the Paris Opéra.
July 16, 1793:
The mortal remains of Jean-Paul Marat are laid to rest in a rocky grotto in the garden of the Cordelier Club, to the music of Christoph Willibald Gluck (†5). His heart is embalmed and placed in an agate urn suspended above the Cordelier Club meeting hall.
June 15, 1824:
The Emperor of Austria grants Antonio Salieri’s (73) petition to be relieved of his duties at full salary. “In the service of four monarchs of the imperial house you have proved an incorruptible truth and devotion, and a perfect self-negation, which have never for a moment wavered, even in the most diverse and, for less magnanimous persons than you, tempting relations.” He has held court positions since the death of Gluck (†37). The letter is dated today but the Emperor actually made the decision in Prague on 6 June.
February 15, 1838:
Felix Mendelssohn (29) conducts the first of four “historical concerts” featuring the music of JS Bach (†87), Handel (†78), and Gluck (†50).
December 16, 1838:
Hector Berlioz (35) conducts an orchestral concert at the Conservatoire featuring music of Gluck (†51) and himself. Nicolò Paganini (56), frail and ill with throat cancer, is in the audience. It is the first time he hears Harold in Italy, which was composed originally for him. At the conclusion, Paganini comes on stage as Berlioz is about to leave it. His voice inaudible from the cancer, he whispers in the ear of his son Achille and then beckons him to stand on a chair. The young man proclaims, “My father says he is so moved and overwhelmed, he could go down on his knees to you.” Paganini takes Berlioz’ arm and brings him back to the platform, whereupon he kneels and kisses Berlioz’ hand.
November 18, 1859:
A new production of Christoph Willibald Gluck's (†72) Orfeo ed Euridice opens in the Théâtre-Lyrique, Paris. In the title role is Pauline Viardot (38). Hector Berlioz (55) took many of the rehearsals, and the choreographer is Lucien Petipa. Viardot's costume is designed by her friend Eugène Delacroix. To the astonishment of those involved, it is a smash hit.
March 11, 1869:
The funeral in memory of Hector Berlioz takes place at L’Église de la Trinité, Paris. The procession to the church is led by Adolphe Sax who directs the National Guard band in Berlioz’ Symphonie funèbre. Illustrious attenders include Daniel Auber (87), Ambroise Thomas (57), and Charles Gounod (50). The music features works of Christoph Willibald Gluck (†81), Wolfgang Amadeus Mozart (†77), Ludwig van Beethoven (†41), Luigi Cherubini (†26), and the Hostias from Berlioz’ own Requiem. The mortal remains of Louis-Hector Berlioz are laid to rest in Montmartre next to those of his two wives, Harriet Smithson and Marie Recio.