André-Ernest-Modeste Grétry
André-Ernest-Modeste Grétry (born February 8, 1741 in Liège , now Belgium , † September 24, 1813 in Montmorency near Paris ) was France's most important composer in the second half of the 18th century . He was instrumental in shaping the development of Opéra-comique ( Singspiel with spoken dialogue ), but also wrote classical operas (with sung recitative ). Grétry created around 70 stage works, of which the comedies predominate; plus vocal music of other genres. He weighted the catchy melody and the expression of noble feelings higher than a rich harmony and a complicated orchestral accompaniment. He composed church music and instrumental music only during his training, which he completed in Rome . In old age he wrote memoirs and reflections .
Life stations
"(...) when she created Grétry, nature said: You will make music!"
Liege (1741–1760)
His father François (1714–1768) played first violin at the Liège collegiate church of Saint-Denis . His mother Marie-Jeanne née Defossez (1715–1800), who came from better circles, had taken music lessons from her future husband. André was the second of their six children. In 1750 he became a choirboy in Saint-Denis. In his memoirs he describes how the deputy chant master, who was in Rome, abused the children entrusted to him. It was only after three years that Grétry received a more sensitive teacher. An Italian theater company introduced him to the works of Pergolesi , Galuppi , etc. In church he now appeared as a vocal soloist . Healed tuberculosis may have caused him to spit up blood periodically throughout his life. After changing his voice , he was retrained to become a violinist. He does not seem to have attended the local Jesuit high school. Since he began to compose, his father gave him lessons in harpsichord playing , figured bass , harmony and counterpoint . After Grétry had performed six symphonies , he was encouraged by the provost of Saint-Denis to continue his studies in Rome. A great mass earned him a chapter gratification. His place was to be filled by the brother during his absence. Although Grétry later only visited Liège twice, his French is said to have retained the accent there. His experiences with the church made him a deist .
Rome (1760–1766)
In 1760, the 19-year-old traveled to the Eternal City on foot . There a foundation granted students from Liège board and lodging . Disappointed by a first teacher, Grétry switched to the conductor of the Lateran Basilica , Giovanni Battista Casali . He recovered from a serious illness with a hermit. There are six string quartets that were written in Rome ( video on YouTube : No. 6, C minor , 2nd movement, Allegro moderato, Quatuor Cambini-Paris). At the Carnival of 1765, Grétry successfully performed two intermezzi entitled La vendemmiatrice (The Winemaker) . Thanks to the advice of Padre Martini , he passed the examination for admission to the Accademia Filarmonica in Bologna . He kept in touch with Martini by letter. In Rome there was also a concerto for flute, two horns and orchestra, which he wrote for Lord Abingdon. Grétry also experienced her first love there, but her beloved did not want to follow him abroad.
Geneva (1766/67)
A score from Monsigny's Opéra-comique Rose et Colas made Grétry want to work in Paris . On the other hand, Abingdon's flute teacher invited him to Geneva . So he decided to earn money there in order to be able to establish himself in the capital of France . Casali gave him a letter of recommendation in which he called him a "real donkey in music"! Grétry struggled to give singing lessons to wealthy female students. He presented the traveling prodigy Mozart with a composition that the ten-year-old could not play from sight without cheating. Geneva was just reopening the theater that Calvin had forbidden. Grétry wrote his first Opéra-comique here, and Isabelle et Gertrude (1767) liked this new setting. The libretto of Favart is based on a story of Voltaire , of the young composer patronized .
Paris (1767–1798)
"(...) the revolution that Gluck had just brought about in musical drama, Grétry brought about in comedy."
Until the accession of Louis XVI.
While his father drank himself to death in Liège, Grétry was consoled by the later Prime Minister of Sweden Count Creutz that his first Paris work Les mariages samnites (The Samnite Marries ) was not performed in 1768. In the same year Creutz Marmontel arranged to write the libretto of the Opéra-comique Le Huron (The Huron) for Grétry, based on a story by Voltaire . This succeeded at the Comédie-Italienne , which had less prestige than the Paris Opera and the Comédie-Française , but a popular ensemble . ( Video on YouTube : Aria of the Mlle de St-Yves, Aurore Bureau, Les Agrémens, Guy Van Waas )
Grétry's student Sophie de Bawr cites the reason for the success : "Instead of those indefinite, sluggish and incoherent chants that had characterized the French school until then, one heard enchanting melodies that formed a perfect unity with the words (...)" The peculiarity of Grétry's stage work is explained by the priority of melody over harmony in the Italian music of his time and that of declamation over music in the Opéra-comique . The latter had developed out of vaudeville , in which the members of the ensemble were primarily actors and only secondarily singers. The orchestra at that time consisted of only two double basses , four violins , two violas , two clarinets , two flutes and two horns .
Grétry received the image of an enlightener and a romantic artist. Grimm summed it up as follows: “young, pale, pale, suffering, tormented - all the characteristics of a man of genius.” Sophie de Bawr writes: “His character was melancholy: I don't think anyone has ever seen him laugh; but his frequent smiles testified to the satisfaction of the soul as well as mischievousness and kindness. ”And the husband of a niece, Louis-Victor Flamand-Grétry, adds:“ Grétry was a handsome boy in his youth; he also always had an eye for what constituted the beauty of women. ” Abbé Galiani believed he had to warn him of“ sirens ”that surrounded his piano . But Grétry was careful not to admit to a woman that she inspired him when composing, because he was afraid of losing inspiration .
The year 1769 brought new successes with Lucile and Le tableau parlant (The speaking image) . About the premiere of Lucile it says: “This romantic work (...) produced the rare spectacle of an audience that melted in tears. (…) Everyone went out crying and bewitched (…) “The fact that Grétry dedicated the scores of the works mentioned to the Prime Minister of the Principality of Liège or the former French Foreign Minister Choiseul was in the interests of his brother, who was persecuted for a love affair. Around that time the composer fell in love with Jeannette Grandon (1746–1807) from Lyon , who was preparing in Paris for her late father's profession as a painter. During the winter he was critically ill.
In 1770 he set Silvain and Les filles pourvues (The supplied daughters) to music. Grimm wrote at the time: “He has a weak chest, often spits blood, and is not sparing himself enough. But how do you spare yourself when you are madly in love with a little creature that is so pretty and has the most beautiful black eyes in France? ”Fortunately, Grimm's fear that“ our French Pergolesi ”, like that of Italy, was in bloom did not come true the years will die. Grétry owed this to the care given by his lover and by his mother, who had hurried over from Liege. The latter, who also oversaw the sale of his scores , stayed with them for the rest of their lives. For the stay of the court in Fontainebleau, which was marked by the marriage of the Dauphin ( Louis XVI. ) To Marie-Antoinette , Grétry wrote Les deux avares (The Two Misers) ( video on YouTube : Janissaries March, arranged for piano, Erakko Ippolitov) and L'amitié à l'épreuve (Friendship to the test). He dedicated the last mentioned work to the 15-year-old Dauphine .
Jeannette gave birth to his daughter Jenny. However, she did not receive her mother's consent, which was necessary for marriage, until 1771. From then on, Grétry received a fixed salary from the Comédie-Italienne instead of just part of the daily income like other composers. For Fontainebleau, where this time the marriage of the Count of Provence ( Louis XVIII. ) To Maria Josepha of Savoy was celebrated, he created L'ami de la maison (The House Friend) and his most famous work Zémire et Azor . It is known from the premiere of L'ami de la maison that Grétry differed from other conductors by a livelier and more varied gesture . It goes on to say: “(…) the whole disorder of his person showed what part he took in the matter.” The Comédie-ballet Zémire et Azor ( Video on YouTube : Arie der Zémire, Sophie Karthäuser , L'Orfeo Barockorchester, Michi Gaigg ), whose libretto is based on the fairy tale La Belle et la Bête (Beauty and the Beast) , has been described as a point of no return on the path of the former fairground spectacle Opéra-comique to respectability . From then on, the court also paid the composer a salary.
In 1772 his friend Diderot wrote : “Grétry has a gentle and refined physiognomy , cross-eyed eyes and the pallor of a man of spirit. (…) He married a young woman who has two very black eyes, and that's very brave with a chest as weak as his; but he's finally feeling better since he became a husband (…) ”In the same year the composer and his wife christened their second daughter Lucile.
In 1773, Grétry, the former Prime Minister of Spain, dedicated his first opéra-comique to the Duke of Alba , based on a libretto by Sedaine , Le Magnifique. For the celebrations after the marriage of the Count of Artois ( Charles X ) to Maria Theresa of Savoy , he wrote La rosière de Salency (The Rose Maiden of Salency) and his first classical opera Céphale et Procris ou L'amour conjugal ( Kephalos and Prokris or Die Gattenliebe) ( Video on YouTube : Arie der Procris, Sophie Karthäuser , Les Agrémens, Guy Van Waas ).
Until the new Comédie-Italienne building
In 1774 Louis XVI ascended the throne. Marie-Antoinette took music lessons from Grétry - but it is not true that she and the Count of Artois have taken over the sponsorship of his youngest daughter Antoinette, as has been claimed, and neither is it true that she gave him the honorary title of Queen's Music Director . Grétry only writes: “The last queen loved my music for seven or eight years and wanted me to attend her concerts and the performances of the court when my works were performed. (...) but young, weak, flighty, in a bad environment, she lost her taste for everything because she couldn't keep things in moderation. (...) at the first sign that she was tired of my music, I withdrew from the queen. "
The heroic genre at the Paris Opera (Académie Royale de musique) was dominated by Gluck until 1779 , whom Grétry calls the Queen's “maître de musique”. According to Grétry, the distribution of roles was as follows: “Gluck put the harmonic effects that permeated him into the service of drama ; I made the melodic accents of Italy subservient to the spirit of the French language . "
The fact that his sister Marie-Jeanne needed a husband, Grétry himself a good press and the publisher of the Mercure de France Jacques Lacombe led to a wedding that cost the composer dearly. In 1775 he performed La fausse magie (The False Magic) , and in 1776 a new version of Les mariages samnites was performed. In the last year mentioned, he visited his native Liège for the first time in addition to Brussels and Spa . The enlightened Prince-Bishop Velbrück awarded him the title of Privy Councilor .
In 1777 Amour pour amour (love for love) and Matroco were created. In the following year Grétry composed for the first time for the Paris Opera, which had received a new director, namely Les trois âges de l'Opéra (The three ages of opera) and Le jugement de Midas (The judgment of Midas) . Although he didn't earn half as much as a singer, he was able to save 30,000 livres, which he now lost in the bankruptcy of the aforementioned Lacombe. The 21-year-old Mozart wrote the eight variations KV 352 (374c) on the choral piece Dieu d'Amour from Les mariages samnites in Paris . ( Video on YouTube : Mario Martinoli, harpsichord ) Grétry went to Honfleur to relax . For Versailles he wrote one of his great successes in 1778, Les fausses apparences ou L'Amant jaloux (False Appearance or The Jealous Lover). ( Video on YouTube : Arie der Léonore, Pauline Texier; Video on YouTube : Arie der Isabelle, Claire Debono, Le Cercle de l'Harmonie, Jérémie Rhorer) The farm doubled its salary.
In 1779 he set Les événemens imprévus (The unforeseen events) and Aucassin et Nicolette ou Les mœurs du bon vieux temps (A. and N. or The customs of the good old days) to music . It was probably in that year that Marie-Antoinette sang duets with Élisabeth Vigée-Lebrun while she was being portrayed by the artist. In 1780, his classical opera Andromaque ( Andromache ) , with which he wanted to help a more sensitive style than that Gluck break through, fell through. A copy of the Grétry bust by Pajou was unveiled in Liège's theater , with Fabre d'Églantine reciting his poem Le triomphe de Grétry . Paris honored the composer by naming a street near the Comédie-Italienne after him. In winter he became critically ill again.
In 1781 he set Émilie ou La belle esclave (Emilie or The Beautiful Slave) to music. With La double épreuve ou Colinette à la cour (The double rehearsal or Colinette at court) and L'embarras des richesses ( Lack of wealth) , he brought the comedy that had been displaced by tragedy back to the Paris Opera in 1782. In addition to the Comédie-Italienne and the court, this third institution now also paid him a salary. At the turn of the year he visited his hometown for the last time, the mayor of which he dedicated L'embarras des richesses , and on the way back to Lille .
Until the French Revolution
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In 1783 the Comédie-Italienne moved from the Hôtel de Bourgogne to a new building that offered 2,000 spectators instead of the previous 1,500. On this occasion, Grétry Thalie wrote au nouveau théâtre ( Thalia in the new theater). One of the greatest successes in the history of the Paris Opera was La caravane du Caire (The Caravan of Cairo ) with 506 performances by 1829 ( video on YouTube : Introduction, Les Agrémens, Guy Van Waas , French). The plot shows similarities with Mozart's Abduction from the Seraglio, which took place the year before .
Grétry had great success in 1784 with L'épreuve villageoise (The village rehearsal). When Bishop Velbrück died in Liège, the composer campaigned in vain for the election of Prince Ferdinand von Rohan as his successor. He celebrated a real triumph with Richard Cœur de Lion (Richard the Lionheart). ( Video on YouTube : Romance , Franz Kaisin, José Beckmans; Video on YouTube : Arie der Laurette, Mady Mesplé , Orchester de chambre de la RTB, Edgar Doneux) As a result, the sinecure of a music censor was created for Grétry . In 1785 he wrote Panurge dans l'isle des lanternes (Panurge on Lantern Island) for the Paris Opera. This doubled his salary, just as the Comédie-Italienne now paid him better.
Just turned 14, Grétry's daughter Lucile succeeded in 1786 with the Opéra-comique Le mariage d'Antonio (Antonio's marriage) , a kind of continuation of Richard Cœur de Lion. Grétry himself wrote the classical opera Amphitryon and the Opéras-comiques Les méprises par ressemblance (confusion due to similarity) and Le comte d'Albert (Count d'Albert). After Sacchini's death , he also received his salary from the court, which was only paid to him once. The following winter, his 16-year-old daughter Jenny died. In 1787 Toinette et Louis fell through to her sister Lucile. Grétry wrote Le prisonnier anglais (The English prisoner). The Comédie-Italienne appointed him a profit-sharing inspector. The Paris Opera raised his salary again.
In 1788 Grétry wrote Le rival confident (The rival as confidant) , in 1789 Raoul Barbe-bleue ( Raul Blaubart ) and the classical opera Aspasie ( Aspasia ). Shortly before the storming of the Bastille , he published the first volume of his memoirs.
Until the rule of the Board of Directors
Grétry supported the French Revolution . Alluding to his hometown, where the Liège Revolution took place in 1789 and where the Lambertus Cathedral was torn down in 1794 , he wrote: "Without a doubt, I owe my love of freedom and the abhorrence of slavery to the republican feelings that I soaked in from childhood." He rejected accusations of ingratitude towards the court: “(...) if one loves the great who love us, is one obliged to love their caste and all the absurdities that make them up? No. ”Of the librettists with whom he worked at the time, only one - Sylvain Maréchal - was a radical revolutionary.
With the revolution, the music became more dissonant and shrill - Grétry later called this "dog howl". He now had to assert himself against younger competitors. For family reasons, he spent the summers of 1789 and 1790 in Lyon , his wife's hometown. At the end of the first stay, daughter Antoinette fell into the Saône , and the life of the father, who was hurrying to help, was also in danger. In 1790, the Grétry couple then lost both of their remaining children: Lucile, who had married unhappily at 17 and Antoinette at 16. Grétry wrote: "After this terrible blow, the fever that burned inside me subsided, my sense of music diminished (...)" In reality, however, his creative power did not wane.
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Jean-Nicolas Bouilly , from whom the template for Beethoven's Fidelio comes, provided the libretto for La jeunesse de Pierre le Grand (The youth of Peter the Great ) , which was given to the hesitant Louis XVI. presented the example of an energetic reformer. ( Video on YouTube : Trailer for the DVD by Arthaus Musik , Helikon-Oper Moscow , Sergei Stadler) Sedaine's libretto for Guillaume Tell ( Wilhelm Tell ) from 1791 is based on Lemierre 's play of the same name from 1766. It justifies the revolution and is directed against France's future opponents of war Austria. Grétry composed the music during his second stay in Lyon, where he had the officers of a Swiss regiment perform songs from their homeland. ( Video on YouTube : excerpts from a production, Opéra Royal de Wallonie , Claudio Scimone ; video on YouTube : Arie des Guesler, Jean-Sébastien Bou, Les Nouveaux Caractères, Sébastien d'Hérin) Cécile et Ermancé ou Les deux couvents (C. and E. or The Two Monasteries) from 1792 criticizes the church . The libretto was written by the poet of the Marseillaise , Rouget de Lisle , and Jean-Baptiste-Denis Despré. Unfulfilled remained Grétry desire Beaumarchais let the third part of his Figaro - Trilogy - L'autre Tartuffe ou La mére coupable (T. the second or the guilty mother) - edit for a setting.
Not only did the composer no longer receive any money from the court or the Paris Opera - after the outbreak of the coalition war and the proclamation of the Republic , the Comédie-Italienne last brought Bazile ou À trompeur, trompeur et demi (B. or Whoever cheats, will cheated) for the performance. Five more stage works remained in the drawer, so that Grétry had to sell his piano and jewelry to his wife, who made a living by painting portraits. He was only able to raise the money for the printing of his scores after years of delay ( Guillaume Tell ) and for a time not at all.
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In the bloodiest year of the revolution (1794), of all times, new works by him came on the stage - and not at the request of the rulers at the time, as he later claimed: Joseph Barra , Denys le tyran, maître d'école à Corinthe ( Dionys der Tyrann , schoolmaster in Corinth ), La rosière républicaine ou La fête de la vertu (The Republican Rose Maiden or The Festival of Virtue) and Callias ou Nature et Patrie (Callias or Nature and Fatherland) . The most interesting of these was named by M. Elizabeth C. Bartlet Joseph Barra , with whom Grétry participated in Robespierre's heroic cult around a 13-year-old drummer who had fallen in the Vendée uprising . On the other hand, according to Bartlet, Denys le tyran and La rosière républicaine , which Grétry wrote on libretti by Maréchal for the Paris Opera, are of “embarrassing mediocrity” . The tyrant Dionys has the features of the recently executed Robespierre, but even more of Louis XVI. La rosière républicaine - a counterpart to the Rosière de Salency - was originally intended for the cult of reason . ( Video on YouTube : Ballet Suite, Grand orchester philharmonique de Paris, Selmar Meyrowitz )
After the Thermidorians seized power, Grétry was accepted into the Inspectorate of the Paris Conservatory and the Institut de France in 1795 . On the initiative of his colleagues Méhul , Dalayrac , Cherubini , Devienne , Lesueur , Gossec , Langlé , Lemoyne and Stanislas Champein, as well as the education politician Lakanal , the state took over the printing of a new edition of the memoir, which was expanded by two sequential volumes .
Under the rule of the Directory , Grétry's brother died in early 1796, who had temporarily operated a tobacco shop at the Comédie-Italienne. He left behind a wife and seven children, of whom the Grétry couple took care of three. The composer spent the summer of 1796 on the estate that Sophie de Bawr's father owned in Saint-Mandé near Paris. In 1796/97 Beethoven wrote the eight variations WoO 72 on the romance Une fièvre brûlante (A Burning Fever) from Richard Cœur de Lion . In 1797 works by Grétry premiered on three stages: Lisbeth, Anacréon chez Polycrate (Anakreon in Polykrates) and Le barbier de village ou Le revenant (The village barber or The Revenant). Lisbeth plays like Guillaume Tell in Switzerland and lets the idyllic poet Salomon Gessner , who is popular in France, act as matchmaker. Le barbier de village, on the other hand, is a parody of La rosière républicaine , the libretto of which was written by the blind oldest nephew of the composer, André-Joseph Grétry (1774–1826).
Paris / Montmorency (1798–1813)
Although he had met him only once, Grétry admired Rousseau . In 1798 he bought the hermitage (hermitage) of Montmorency , where the philosopher had lived in 1756/57, for 10,000 livres . There he now spent the summers and worked on his last stage works Elisca ou L'amour maternel (E. or Die Mutterliebe) from 1799, Le casque et les colombes (The helmet and the doves) from 1801 and Delphis et Mopsa from 1803. Beside that He published other books: 1801 three volumes De la vérité (Of the truth) , 1802 an instruction to prelude at state expense .
The singer Jean Elleviou celebrated successes at the Théâtre Feydeau with earlier works by him . This brought in royalties for Grétry, who had been receiving a salary from the state since 1800 - an achievement of the revolution. He was the first composer to be accepted into the Legion of Honor in 1803 . He can be recognized among the guests in David's famous depiction of Napoleon's coronation as emperor (1804). He helped the 18-year-old singer and poet Marceline Desbordes-Valmore , whom he called “dear daughter” and “beautiful angel”, to roles at the Comédie-Italienne. A Grétry statue by Jean-Baptiste Stouf was placed in the foyer in 1805. After the loss of his wife (1807), the composer wrote Réflexions d'un solitaire (Reflections of a lonely person) , which were only published in four volumes a century later. In 1809 he traveled to Orléans for the wedding of his nephew Alexis . In 1813 Grétry died in the hermitage. Shortly before, he had declared Sophie de Bawr to be his successor in music theater to François-Adrien Boieldieu .
Success in numbers
From 1768 to 1824, Grétry's name was - apart from the times of closure - only not on the Comédie-Italienne schedule in two months.
1771–1780 gave these 1222 performances of his works (one every three days), while Monsigny had 661, Duni 461 and Philidor 458. Lucile was the second most played in the period mentioned (143 performances), after Le déserteur von Monsigny (154) and before his Le roi et le fermier (141).
1781-1790 Grétry led with 1418 performances (one every two to three days) before Dalayrac with 703, Monsigny with 374 and Dezède with 323. L'épreuve villageoise and Dezèdes Blaise et Babet (129 each) brought it to Richard Cœur de Lion (125) and L'amant jaloux (118).
During the Revolution, Grétry's popularity decreased (from 141 performances in 1793 to 50 in 1799), but increased again under the Consulate and the Empire , and then under Louis XVIII. to go back for good. While his works lasted longer in the provinces, only seven of them were played in Paris in the further course of the 19th century.
Post fame
Sophie de Bawr wrote about her teacher: “Grétry was one of those dreamy people with tact and sensitivity, who by nature are better able than others to observe the human heart and grasp the expression of passions.” And further: “From the Marshal of France to the rag collector of Paris - everyone knew Grétry, everyone knew some of the arias he had composed by heart (…) ”Elsewhere, the writer and composer praised Grétry's inexhaustible ingenuity. But she added that one couldn't honestly admire him without regretting that he had come to France before the music there had perfected in terms of harmony.
Half of Paris took part in Grétry's funeral, which resembled an apotheosis , shortly after the fall of the Grande Armée in Russia . The marche lugubre pour orchester militaire of his compatriot Gossec ( video on YouTube : Banda dell'Esercito Italiano, Fulvio Creux) matched the general mood. In front of the Théâtre Feydeau, hidden wind instruments played the trio Ah! laissez-moi, laissez-moi la pleurer from Zémire et Azor . The composer found his final resting place in the Père-Lachaise cemetery . The funeral orations were given by his professional colleague Méhul , who called Grétry a “Molière der Comédie lyrique”, and the librettist Bouilly . Julie Candeille composed a Morceau de musique funèbre en l'honneur de Grétry.
The seven heirs fell out. Louis-Victor Flamand-Grétry obtained permission to take the heart of the composer's body in order to give it to the city of Liège. But then he had it buried in the Hermitage of Montmorency, which he made into a kind of pilgrimage. It took a trial before it could be transferred to Grétry's hometown in 1829. There it was placed in the base of the statue of Guillaume Geefs, which was inaugurated in 1842 in the presence of Liszt and which today stands in front of the Royal Wallonia Opera .
After the Restoration in 1815, the quartet Où peut on être mieux qu'au sein de sa famille (It is best to live with loved ones) from Lucile served as the unofficial royal anthem. When Germany was gripped by the fever of nationalism , Carl Maria von Weber wrote : “Perhaps Gretry is the only one of the composers who blossomed in France who had a significantly lyrical, even often romantic, sense. The sometimes really touching innocence of his melodies, whose rhythms (sic) are always based on the needs of the moment and not on established forms, have been tried in vain. "In a lexicon, however, it said, the" great developments of Music ”had passed the“ cheerful Flanders ”because he did not do it with the“ cheerful German ”, but“ rather danced along with the jolly Franzmann ”.
1890 added Tchaikovsky Laurette Arie The crains de lui parler de nuit (I can not ask him at night) of Richard Coeur de Lion as a quote in his opera The Queen of Spades one. Grétry's birthplace in Liège has been a museum since 1913. There is u. a. a pianoforte from 1769 is shown which the composer is said to have acquired from Rousseau's possession. A music academy bears his name in Liège, a conservatory in Montmorency , and streets and squares in many places. From 1980 the composer was featured on the Belgian 1000 franc note. In 1987 the asteroid (3280) Grétry, discovered in 1933, was named after him.
gallery
Grétry's birthplace
in Liège (now the
Musée Grétry).
House in Geneva where Grétry wrote
his first opera
comique.
Fantasy portrait of the
young Grétry (Jean-
Baptiste Isabey).
Portrait owned by Grétrys ( Louis-Roland Trinquesse ).
Grétry at the pianoforte
(Antoine Vestier,
around 1788).
Ermitage, Montmorency
(Philibert-Louis
Debucourt after Vernet ).
Bust of Grétry (Henri-
Joseph Rutxhiel,
1804/05).
Grétry statue
(Jean-Baptiste Stouf,
1804–1808).
Grétry with rifle (François Dumont, 1808).
Grétry in Elysium (Jean
Duplessis-Bertaux ).
Grétry grave in the
cemetery Pere Lachaise
(Louis Faure to 1821).
Statue of Grétry (Guillaume Geefs, 1840), Royal Wallonia Opera .
Grétry statue (Victor
Vilain, 1857), Louvre .
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Compositions
Church music preserved
- Confitebor tibi domine (1762)
- Dixit Dominus for 4 voices and orchestra (incomplete)
- O salutaris hostia for 5 voices and organ
- Lætatus sum for soprano and orchestra
- Laudate Dominum for tenor and orchestra
- Laudate Dominum for soprano and orchestra
- Mirabilis Deus for 4 voices and orchestra
Preserved instrumental music
-
Be quartetti per due violini, alto e basso di Andrea Grètry composti a Roma. Opus 3 (1774):
No. 1, G major (Andantino, Allegro , Fuga )
No. 2, E flat major (Allegro, Larghetto , Allegro)
No. 3, F major (Allegro, Minuetto , Allegro, Allegro assai )
No. 4, D major (Allegro assai, Andantino, Tempo di minuetto)
No. 5, G major (Andante, Allegro, Allegro)
No. 6, C minor (Larghetto, Allegro moderato, Allegro fuga) - Concerto for flute , two horns and orchestra, C major
- Symphony for two oboes and strings (1769)
All stage works
The name changes of the Comédie-Italienne and the Paris Opera are not taken into account. The Dedication section relates to the first prints of the scores, the Number section to the Collection complète des œuvres de Grétry .
| year | title | genus | libretto | premiere | dedication | number |
|---|---|---|---|---|---|---|
| 1765 | La vendemmiatrice | 2 interludes | Angelo Lungi | Teatro Alibert, Rome, Carnival | ||
| 1767 | Isabelle and Gertrude or Les sylphes supposés | Comédie, 1 act | Favart (after Voltaire ) | Geneva , December | ||
| 1768 | Les mariages samnites (1st version) | Opéra, 1 act | Pierre Légier (after Marmontel ) | |||
| 1768 | Le Huron | Comédie, 2 acts (verses) | Marmontel (after Voltaire ) | Comédie-Italienne, August 20th | Count Creutz | XIV (1893) |
| 1768 | Le connaisseur | Comédie, 3 acts | Marmontel | |||
| 1769 | Lucile | Comédie, 1 act (verses) | Marmontel | Comédie-Italienne, January 5th | Count d'Oultremont | II (1884) |
| 1769 | Le tableau parlant | Comédie parade, 1 act (verses) | Louis Anseaume | Comédie-Italienne, September 20th | Duke of Choiseul | IX (1890) |
| circa 1769 | Momus sur la terre | prolog | Claude-Henri Watelet | La Roche-Guyon | ||
| 1770 | Silvain | Comédie, 1 act (verses) | Marmontel (after Gessner ) | Comédie-Italienne, February 19th | Prince Karl of Poland | XXVII (1901) |
| 1770 | Les filles pourvues | Compliment de clôture, 1 act | Louis Anseaume | Comédie-Italienne, March 31st | ||
| 1770 | Les deux avares | Comédie bouffon, 2 acts (prose) | Fenouillot de Falbaire | Fontainebleau , October 27th | Duke of Aumont | XX (1896) |
| 1770 | L'amitié à l'épreuve | Comédie, 2 acts (verses) | Favart and Claude-Henri Fusée de Voisenon (after Marmontel) | Fontainebleau, November 13th | Marie-Antoinette | XLII f. |
| 1771 | L'ami de la maison | Comédie, 3 acts (verses) | Marmontel | Fontainebleau, October 26th | Duke of Duras | XXXVIII (1909) |
| 1771 | Zémire et Azor | Comédie-ballet, 4 acts (verses) | Marmontel (after Jeanne-Marie Leprince de Beaumont and La Chaussée ) | Fontainebleau, November 9th | Countess du Barry | XIII (1892) |
| 1773 | Le Magnifique | Comédie, 3 acts (prose) | Sedaine (after La Fontaine ) | Comédie-Italienne, March 4th | Duke of Alba | XXXI (1904) |
| 1773 | La rosiere de Salency | Pastoral , 3 acts (verses) | Masson de Pezay | Fontainebleau, October 23 | Countess Stroganova | XXX (1903) |
| 1773 | Céphale et Procris or L'amour conjugal | Ballet-héroïque, 3 acts | Marmontel (after Ovid ) | Versailles , December 30th | Chevalier de Luxembourg | III f. (1885) |
| 1775 | La fausse magic | Comédie, 2 acts (verses) | Marmontel | Comédie-Italienne, February 1st | Prince of Poix | XXV (1899) |
| 1776 | Les mariages samnites (2nd version) | Drame lyrique, 3 acts (prose) | Barnabé Farmian Durosoy (after Marmontel) | Comédie-Italienne, June 12th | Prince-Bishop Velbrück | XXXV (1907) |
| 1776 | Pygmalion | Drame lyrique, 1 act | Barnabé Farmian Durosoy | |||
| 1777 | Amour pour amour | 3 divertissements | Pierre Laujon | Versailles, March 10th | ||
| 1777 | Matroco | Drame burlesque, 4 acts (verses) | Pierre Laujon | Chantilly , November 3rd | ||
| 1778 | Le jugement de Midas | Comédie, 3 acts (prose) | Thomas Hales (after Kane O'Hara) | Palais-Royal , March 28th | Madame de Montesson | XVII (1894) |
| 1778 | Les trois âges de l'Opéra | Prologue and divertissements | Alphonse-Marie-Denis Devismes de Saint-Alphonse | Paris Opera , April 27th | XLVI | |
| 1778 | Les fausses apparences ou L'Amant jaloux | Comédie, 3 acts (prose) | Thomas Hales (after Susanna Centlivre) | Versailles, November 20th | Lenoir , Lieutenant General de Police | XXI (1896) |
| 1778 | Les statues | Opéra-féerie, 4 acts | Marmontel (after a thousand and one nights ) | |||
| 1779 | Les événemens imprévus | Comédie, 3 acts (prose) | Thomas Hales | Versailles, November 11th | Count of Artois ( Charles X. ) | X (1890) |
| 1779 | Aucassin et Nicolette or Les mœurs du bon vieux temps | Comédie, 3 acts (verses) | Sedaine (after La Curne de Sainte-Palaye ) | Versailles, December 30th | Duchess of Gramont | XXXII (1905) |
| 1780 | Andromaque | Tragédie lyrique, 3 acts | Louis-Guillaume Pitra (after Racine ) | Paris Opera, June 6th | Duchess of Polignac | XXXVI f. (1908) |
| 1781 | Émilie ou La belle esclave | Comédie lyrique, 1 act | Nicolas-François Guillard | Paris Opera, February 22nd | XLVII | |
| 1781/82 | Electre | Tragédie lyrique, 3 acts | Jean-Charles Thilorier (after Euripides ) | |||
| 1782 | La double épreuve ou Colinette à la cour | Comédie lyrique, 3 acts | Jean-Baptiste Lourdet de Santerre (after Favart ) | Paris Opera, January 1st | Count of Vaudreuil | XV f. (1893 f.) |
| 1782 | L'embarras des richesses | Comédie lyrique, 3 acts | Jean-Baptiste Lourdet de Santerre (after Léonor Soulas d'Allainval) | Paris Opera, November 26th | Both mayors of Liege | XI f. (1892) |
| 1782 | Les colonnes d'Alcide | Opéra, 1 act | Louis-Guillaume Pitra | |||
| 1783 | Thalie au nouveau théâtre | prolog | Sedaine | Comédie-Italienne, April 28th | ||
| 1783 | La caravane du Caire | Opéra-ballet, 3 acts | Étienne Morel de Chédeville and Louis XVIII. | Fontainebleau, October 30th | Baron de Breteuil | XXII f. (1897 f.) |
| 1784 | L'épreuve villageoise | Opéra bouffon, 2 acts (verses) | Desforges (= Pierre-Jean-Baptiste Choudard) | Comédie-Italienne, June 24th | Madame Papillon de La Ferté | VI (1886) |
| 1784 | Richard Coeur de Lion | Comédie, 3 acts (prose) | Sedaine (after Paulmy d'Argenson ) | Comédie-Italienne, October 21 | Madame des Entelles | I (1883) |
| 1785 | Panurge dans l'isle des lanternes | Comédie lyrique, 3 acts | Étienne Morel de Chédeville and Louis XVIII. (after François Parfaict) | Paris Opera, January 25th | XIX (1895), XXIII (1898) | |
| 1785 | Œedipe à Colonne | Tragédie lyrique, 3 acts | Nicolas-François Guillard (after Sophocles ) | |||
| 1786 | Amphitryon | Opéra, 3 acts | Sedaine (after Molière ) | Versailles, March 15th | XXXIII f. (1906) | |
| 1786 | Le mariage d'Antonio (from Grétry's daughter Lucile) | Comédie, 1 act | Madame de Beaunoir (= Alexandre-Louis Robineau) | Comédie-Italienne, July 29th | ||
| 1786 | L'amitié à l'épreuve (2nd version) | Comédie, 3 acts (verses) | Favart and Claude-Henri Fusée de Voisenon (after Marmontel) | Fontainebleau, October 24th | Marie-Antoinette | XLII f. |
| 1786 | Les méprises par ressemblance | Comédie, 3 acts (prose) | Joseph Patrat (after Plautus ) | Fontainebleau, November 7th | V (1886) | |
| 1786 | Le comte d'Albert | Drame, 2 acts (prose and verse) | Sedaine (after La Fontaine ) | Fontainebleau, November 13th | Elisabeth Vigée-Lebrun | XXVI (1901) |
| 1787 | Toinette et Louis (from Grétry's daughter Lucile) | Petite pie | Joseph Patrat | Comédie-Italienne, March 22nd | ||
| 1787 | Le prisonnier anglais | Comédie, 3 acts | Desfontaines (= François-Georges Fouques Deshayes) | Comédie-Italienne, December 26th | XLVIII f. (1936) | |
| 1788 | Le rival confident | Comédie, 2 acts | Nicolas-Julien Forgeot | Comédie-Italienne, June 26th | XLV | |
| 1789 | Raoul Barbe-bleue | Comédie, 3 acts (prose) | Sedaine (after Perrault ) | Comédie-Italienne, March 2nd | Godefroid de Villeraneuse | XVIII (1895) |
| 1789 | Aspasia | Opéra, 2 acts | Étienne Morel de Chédeville | Paris Opera, March 17th | ||
| 1790 | La jeunesse de Pierre le Grand | Comédie, 3 acts (prose) | Jean-Nicolas Bouilly (after Voltaire ) | Comédie-Italienne, January 13th | XL (1913) | |
| 1791 | Guillaume Tell | Drame, 3 acts (prose and verse) | Sedaine (after Antoine-Marin Lemierre ) | Comédie-Italienne, April 9th | XXIV (1898) | |
| 1792 | Cécile et Ermancé or Les deux couvents | Comédie, 3 acts | Rouget de Lisle , Jean-Baptiste-Denis Despré | Comédie-Italienne, January 16 | ||
| 1792 | Bazile ou à trompeur, trompeur et demi | Comédie, 1 act | Sedaine to Cervantes | Comédie-Italienne, October 17th | ||
| 1792 | L'officier de fortune | Drame, 3 acts | Edmond-Guillaume-François de Favières | Opéra Royal de Wallonie , October 20, 2012 | ||
| 1793 | Roger et Olivier | Opéra, 3 acts | Jean-Marcel Souriguère de Saint-Marc (after Louis d'Ussieux) | |||
| 1793 | Séraphine ou Absente et present | Comédie, 3 acts | André-Joseph Grétry (nephew) | |||
| 1794 | Le congrès des rois (with eleven other composers, including Cherubini and Méhul ) | Comédie, 3 acts | Ève Demaillot (= Antoine-François Ève) | Comédie-Italienne, February 26th | ||
| 1794 | Joseph Barra | Fait historique, 1 act | Guillaume-Denis-Thomas Levrier de Champ-Rion | Comédie-Italienne, June 5th | ||
| 1794 | Denys le tyran, maître d'école à Corinthe | Opéra historique, 1 act | Sylvain Maréchal | Paris Opera, August 23 | XXVIII (1901) | |
| 1794 | La rosière républicaine ou La fête de la vertu | Opéra, 1 act | Sylvain Maréchal | Paris Opera, September 2nd | XXIX (1903) | |
| 1794 | Callias ou Nature et Patrie | Opéra, 1 act | François-Benoît Hoffmann | Comédie-Italienne, September 19th | ||
| 1794 | L'inquisition de Madrid | Drame lyrique, 3 acts | André-Joseph Grétry (nephew) | |||
| 1794 | Diogène et Alexandre | Opéra, 3 acts | Sylvain Maréchal | |||
| 1797 | Lisbeth | Drame lyrique, 3 acts | Edmond-Guillaume-François de Favières (after Claris de Florian ) | Comédie-Italienne, January 10th | XLIV | |
| 1797 | Anacréon chez Polycrate | Opéra, 3 acts | Jean-Henry Guy | Paris Opera, January 17th | VII f. (1888) | |
| 1797 | Le barbier de village or Le revenant | Opéra-comique, 1 act | André-Joseph Grétry (nephew) | Théâtre Feydeau , May 6th | ||
| 1799 | Elisca ou L'amour maternel | Drame lyrique, 3 acts | Edmond-Guillaume-François de Favières | Comédie-Italienne, January 1st | XXXIX (1911) | |
| 1801 | Le casque et les colombes | Opéra-ballet, 1 act | Nicolas-François Guillard | Paris Opera, November 7th | ||
| 1802 | Zelmar ou L'asile | Drame lyrique, 2 acts | André-Joseph Grétry (nephew) | |||
| 1803 | Delphis et Mopsa | Comédie lyrique, 2 acts | Jean-Henry Guy | Paris Opera, February 15th | XLI |
Grétry's best-known stage works today include Lucile (1769), Zémire et Azor (1771), L'Amant jaloux (1778), La Caravane du Caire (1783), Richard Cœur de Lion (1784) and Guillaume Tell (1791).
Other vocal works
- Arie Doux plaisir, l'Amour te rappelle , text by de R. (1775)
- Air pour la fête de Mme P *** (Vous connoissez, mes amis) , text by Mars (1776)
- Romance du roman de l'Histoire du chevalier du Soleil (Quand on est belle) , text by Dorville / Paulmy (1779)
- Anacreontic Ode Le marché de Cythère (Savez-vous qu'il tient tous les jours) (1783)
- Stances du lys to the libretto La jeunesse de Henri IV by Bouilly (1791)
- Romance du saule (Au pied d'un saule) to the tragedy Othello by Ducis (1791/92)
- Couplets du citoyen patriophile, dédiés à nos frères de Paris (Qu'entends-je) (1792)
- Hymne en honneur de Marat et Le Peletier (O! Liberté) , text by D'Avrigny (1793)
- Hymne à l'éternel (Je te salue) , text by de R. (1794)
- Aux mânes de son fils Godefroi (De l'Élysée) , text by Corancez (1796)
- Aux mânes de M (arie-) E (lisabeth) Joly (Après vingt ans de mariage) , text by Delrieu (1799)
- Ronde pour la plantation de l'arbre de la Liberté (Unissez vos cœurs) , text by Mahérault (1799) ( digitized )
- Éloge à Bonaparte (Le plus grand des héros) (1802)
- L'éducation de l'Amour (Quand l'Amour déjà plein d'adresse) , text by André-Joseph Grétry (nephew) (around 1803)
-
6 nouvelles romances , text by André-Joseph Grétry (nephew) (1803):
Rondo La gaieté villageoise (Pour animer toujours la dance)
Le départ inutile (Riants côteaux)
Chansonette La carrière (S'en allant au moulin)
L'amant rassuré (Pourquoi douter de ma tendresse)
Cavatina Le jour de noce ou Le vieux serviteur (Partout la gaieté)
Le tombeau de Thisbé (O ma Thisbé) - Le charme de s'entendre (Il est bien doux) , texts by Rousselin (1809)
- Hymn Marie-Louise , impératrice-reine, à l'éternel (Toi qui formas le cœur des mères) , text by André-Joseph Grétry (nephew) (1811)
- Le berger délaissé (Mirtil, errant à l'aventure) , text by André-Joseph Grétry (nephew) (1824)
-
3 romances , texts by Ducis (1827):
Scottish romance Algar et Anissa (Il est donc)
La mère devant le lion (Un lion affreux)
Le pont des mères (Dans la fleur de l'adolescence) - La chevalier et la pastourelle (Je vous promets) (undated)
- Chanson badine L'Île de Cythère (C'est un charming pays) , text by Grécourt (undated)
- Le rossignol (undated)
- Cantate pour célébrer la naissance du premier enfant de Monsieur et Madame de La Ferté (Quels accords ravissants) (undated)
Fonts
- Mémoires ou Essai sur la musique par M (onsieur) Grétry (…) Avec Approbation & Privilége du Roi. Self-published, Paris / Liège 1789 ( Textarchiv - Internet Archive ).
- Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) 3 volumes, Imprimerie de la République, Paris Year 5 (1797) (1: Text archive - Internet Archive ; 2: Text archive - Internet Archive ; 3: Text archive - Internet Archive ).
- De la verite. Ce que nous fûmes, ce que nous sommes, ce que nous devrions être. 3 volumes, self-published, Paris year 9 (1801) (1: digitized ; 2: digitized ; 3: digitized ).
- Method simple pour apprendre à préluder en peu de temps avec toutes les ressources de l'harmonie. Imprimérie de la République, Paris Year 10 (1802) ( digitized ).
- Lucien Solvay, Ernest Closson (Eds.): Réflexions d'un solitaire par A.-E.-M. Grétry, manuscit inédit. Œuvres complètes de Grétry, publiées par le Gouvernement belge. 4 volumes, G. Van Oest & Cie., Bruxelles / Paris 1919–1922 (1: Textarchiv - Internet Archive ; 2: Textarchiv - Internet Archive ; 3: Textarchiv - Internet Archive ; 4: Textarchiv - Internet Archive ).
- Georges de Froidcourt (ed.): La correspondance générale de Grétry, augmentée de nombreux documents relatifs a la vie et aux œuvres du compositeur liégeois. Brepols, Bruxelles 1962.
- Michel Brix, Yves Lenoir (eds.): Douze chapitres inédits des “Réflexions d'un solitaire”. Presses universitaires de Namur , Université catholique de Louvain , Namur, Louvain-la-Neuve 1993, ISBN 978-2-87037-158-9 .
Other sources
- ( Mathieu-François Pidansat de Mairobert , Barthélémy-François-Joseph Moufle d'Angerville :) Mémoires secrets pour servir à l'histoire de la république des lettres en France depuis MDCCLXII jusqu'à nos jours (...) 36 volumes, John Adamson, Londres 1777-1789.
- Jean-François de La Harpe : Correspondance littéraire (…) 2nd volume, Migneret / Dupont, Paris year 9, 1801 ( digitized version ).
- Jean-François Marmontel : Mémoires d'un père pour servir à l'instruction de ses enfans. 3rd volume, Paris, year 13, 1804 ( digitized ).
- André-Joseph Grétry: Grétry en famille; ou Anecdotes littéraires et musicales relatives à ce célèbre compositeur (…) Chaumerot jeune, Paris 1814 ( digitized ).
- Louis-Victor Flamand-Grétry: L'Ermitage de J. J. Rousseau et de Grétry. Poëme avec figures et notes historiques. (...) Self-published, Montmorency / Paris 1820 ( digitized ).
- Mme de Bawr : Histoire de la musique. Audot, Paris 1823 ( digitized version ).
- Mme Campan : Memoires sur la vie privée de Marie-Antoinette (…) 1st volume, 2nd edition, Baudoin frères, Paris 1823 ( digitized ).
- Louis-Victor Flamand-Grétry: Mémoires. Itinéraire… de la vallée d ' Enghien -Montmorency, précédé des mémoires de l'auteur et de l'histoire complète du procès relatif au cœur de Grétry… , 1st volume. Arthus-Bertrand, Paris 1826 ( digitized ).
- Remise solennelle du coeur de Grétry à la ville de Liége (...) P.-J. Collardin, Liége 1829 ( digitized version ).
- Mme de Bawr: Grétry. In Édouard Mennechet (ed.): Le Plutarque français, vies des hommes et femmes illustres de la France, avec leurs portraits en pied , 7th volume, Crapelet, Paris 1840, individually paginated ( digitized version ).
- Madame de Bawr: Mes souvenirs . Passard, Paris 1853 ( digitized ).
- Maurice Tourneux (ed.): Correspondance littéraire, philosophique et critique par Grimm , Diderot , Raynal , Meister , etc. (...) 16 volumes, Garnier Frères, Paris 1877–1882.
- Émile Campardon: Les Comédiens du roi de la troupe italienne pendant les deux derniers siècles: documents inédits recueillis aux Archives nationales . 2 volumes, Berger-Levrault, Paris 1880 (1: Textarchiv - Internet Archive ; 2: Textarchiv - Internet Archive ).
- Georges Cucuel: Sources et documents pour servir à l'histoire de l'opéra-comique en France. In: L'Année musicale 3/1913, Félix Alcan, Paris 1914, pp. 247–282.
- Alfred Loewenberg : Annals of Opera 1597-1940, compiled from the original sources. 3rd edition, John Calder, London 1978 ( digitized version ).
- Yves Lenoir (Ed.): Documents Grétry dans les collections de la Bibliothèque Royale Albert Ier . Bibliothèque Royale Albert Ier, Bruxelles 1989, ISBN 2-87093-046-1 .
Secondary literature
- Édouard-Georges-Jacques Grégoir: Grétry, célèbre compositeur belge. Schott frères, Bruxelles 1883 ( Text Archive - Internet Archive ).
- Marie Bobillier ( pseudonym Michel Brenet): Grétry, sa vie et ses œuvres. Mémoires couronnés et autres mémoires publiés par l ' Académie royale des sciences, des lettres et des beaux-arts de Belgique , collection in-8 °, tome 36, fasc. 3. A. Hayez, Bruxelles 1884 ( Textarchiv - Internet Archive ).
- Pauline Long des Clavières: La jeunesse de Grétry et ses débuts à Paris. (Partial print of a dissertation from the University of Geneva .) Jacques & Demontrond, Besançon 1920 ( Textarchiv - Internet Archive ).
- Heinz Wichmann: Grétry and the musical theater in France. Max Niemeyer Verlag , Halle (Saale) 1929.
- José Quitin: Les maîtres de chant et la maîtrise de la collégiale Saint-Denis, à Liège, au temps de Grétry. Esquisse socio-musicologique. ( Académie royale de Belgique , classe des beaux-arts, mémoires, collection in-8 °, 2me série, tome 13, fasc. 3.) Palais des académies, Bruxelles 1964.
- David Charlton: Grétry and the growth of opéra-comique. Cambridge University Press , Cambridge 1986, ISBN 978-0-521-25129-7 (reading excerpt: digitized version ).
- Roland Mortier, Hervé Hasquin (eds.): Fêtes et musiques révolutionnaires: Grétry et Gossec . (Études sur le XVIIIe siècle 17.) Université libre de Bruxelles , Bruxelles 1990, ISBN 2-8004-0994-0 ( digitized ).
- Philippe Vendrix (ed.): L'opéra-comique en France au XVIIIe siècle. Mardaga, Liège 1992, ISBN 2-87009-482-5 (reading sample: digitized ).
- Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique. Mardaga, Liège 1992, ISBN 2-87009-483-3 (reading sample: digitized version ).
- M. Elizabeth C. Bartlet: Grétry and the Revolution . In: Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique (see above), pp. 47–110.
- Ronald Lessens: André-Ernest-Modeste Grétry ou Le triomphe de l'Opéra-Comique (1741-1813). (Univers Musical.) L'Harmattan, Paris 2007, ISBN 978-2-296-03393-1 (reading sample: digitized version ).
- Jean Duron (Ed.): Grétry en société. (Collection Regards sur la musique. ) Mardaga, Wavre 2009, ISBN 978-2-8047-0036-2 (reading sample: digitized ).
- Grétry (1741-1813). De l'Opéra-Comique à l'Ermitage de Jean-Jacques Rousseau. Musée Jean-Jacques Rousseau, Montmorency 2013, ISBN 978-2-9542108-1-0 (exhibition catalog).
- Robert James Arnold: Grétry's Operas and the French Public. From the Old Regime to the Restoration. (Ashgate Interdisciplinary Studies in Opera.) Routledge , Abingdon / New York 2016, ISBN 978-1-4724-3850-8 (reading sample: digitized ).
- Mary F. McVicker: Women Opera Composers. Biographies from the 1500s to the 21st Century. McFarland, Jefferson (North Carolina) 2016, ISBN 978-0-7864-9513-9 (reading sample: digitized version ), pp. 15-20, 124.
fiction
- Jean-Nicolas Bouilly : Mes récapitulations. 3 Epochs, Louis Janet, Paris (1836) (1: digitized , 2: digitized , 3: digitized ); Nouvelles récapitulations. Société belge de librairie, Bruxelles 1838 ( digitized ).
Videos
- Olivier Simonnet: Grétry. Un musicien dans la tourmente. arte , 2011, 56 min. ( video on YouTube , French).
- Olivier Simonnet: La petite musique de Marie-Antoinette . Sophie Karthäuser , Pierre-Yves Pruvot, Les Agrémens, Guy Van Waas . arte, 2012, 1 hour 22 minutes ( video on YouTube , French).
- Patrick Dheur: Une visite au Musée Grétry à Liège. 2013, 8 min. ( Video on YouTube , French).
Web links
- Jean-Marc Warszawski: Grétry, André-Ernest-Modeste, 1741-1813. Musicologie.org, 2003 ( digitized version )
- Works by and about André-Ernest-Modeste Grétry in the catalog of the German National Library
- Works by and about André-Ernest-Modeste Grétry in the German Digital Library
- Sheet music and audio files by André-Ernest-Modeste Grétry in the International Music Score Library Project
- Opera works and manuscripts by André-Ernest-Modeste Grétry in the DFG opera project
- David Charlton, M. Elizabeth C. Bartlet: Grétry, André-Ernest-Modeste. In: Grove Music Online (English; subscription required).
- Grétry Museum in Liège
- André-Ernest-Modeste Grétry in the Internet Movie Database (English)
References and comments
- ^ February 11th, given by Grétry, is the baptism date. See Georges de Froidcourt: Le lieu et la date de naissance de Grétry . In: Bulletin du Vieux-Liège , 99/1952, pp. 166-178.
- ↑ Patrick Taïeb, Judith Le Blanc: Merveilleux et réalisme dans "Zémire et Azor": un échange entre Diderot et Grétry . In: Dix-huitème siècle , 2011/1 (No. 43), pp. 185–201 ( digitized version ), here: p. 193.
- ↑ See David Charlton: Grétry and the growth of opéra-comique . Cambridge 1986, p. 4: "The opéras-comiques are not comic operas (...)"
- ↑ See José Quitin: Les compositions de musique religieuse d'André-Modeste Grétry. In: Revue belge de musicologie , 18/1964, pp. 57–69.
- ↑ Mme de Bawr : Grétry . In: Édouard Mennechet (ed.): Le Plutarque français (…), Volume 7, Paris 1840 ( digitized version ), p. 4. In the 1847 edition, editor Térence Hadot replaced “Nature” with “God”. ( Digitized version )
- ↑ Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Paris Year 5 (1797), pp. 6–12 ( Textarchiv - Internet Archive ). After other names had been brought into play, José Quitin was able to identify the sadist mentioned as Hubert-François Devillers (1726-1770), a double bass player and cantor . See José Quitin: Les maîtres de chant et la maîtrise de la collégiale Saint-Denis, à Liège, au temps de Grétry (...) Bruxelles 1964, p. 6 / note. 2, 18, 33-38, 93 f.
- ↑ See David Charlton: Grétry and the growth of opéra-comique . Cambridge 1986, p. 23 / note. 20th
- ^ Jean-Nicolas Bouilly : Mes récapitulations , 1st epoch, Paris (1836) ( digitized version ), p. 141.
- ↑ Cf. Manuel Couvreur: Le diable et le bon dieu ou L'incroyable rencontre de Sylvain Maréchal et de Grétry . In: Roland Mortier, Hervé Hasquin (eds.): Fêtes et musiques révolutionnaires: Grétry et Gossec . Bruxelles 1990 ( digitized version), pp. 99-125, here: pp. 104, 116.
- ↑ See Suzanne Clercx: Le rôle de l'Académie Philharmonique de Bologne dans la formation d'AM Grétry . In: Quadrivium , 8/1967, pp. 75-85.
- ↑ See Georges de Froidcourt (ed.): La correspondance générale de Grétry (…) Bruxelles 1962, pp. 26–36, 38–40, 56–61, 64 f., 98 f., 104–107.
- ↑ See John Solum: Concerning the authenticy of Grétry's flute concerto . In: Revue de la Société liégeoise de musicologie , 7/1997, pp. 75–85 ( digitized version ).
- ↑ Lucien Solvay, Ernest Closson (Ed.): Réflexions d'un solitaire par A.-E.-M. Grétry (...) Volume 1, Bruxelles / Paris 1919, p. 37 f. ( Digitized version ).
- ^ François-Joseph Fétis : Biographie universelle des musiciens (…) 3rd volume, Bruxelles 1837, p. 62 ( digitized version ).
- ↑ Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Paris Year 5 (1797), p. 84 f. ( Text Archive - Internet Archive ); see. Pauline Long des Clavières: La jeunesse de Grétry (…), Besançon 1920, pp. 103-105 ( Text Archive - Internet Archive ). Later Grétry taught child prodigies himself, including his daughter Lucile. See Robert Adelson, Jacqueline last: Mozart Fille: Lucile Grétry (1772–1790) and the forgotten tradition of girl musical prodigies . In: Brigitte Van Wymeersch (Ed.): Mozart aujourd'hui . Louvain-la-Neuve 2006, pp. 249-261.
- ↑ See Mme de Bawr: Grétry . In: Édouard Mennechet (ed.): Le Plutarque français (…), 7th volume, Paris 1840 ( digitized version ), p. 2; Pauline Long des Clavières: La jeunesse de Grétry (…). Besançon 1920, pp. 88–99 ( Textarchiv - Internet Archive ); David Charlton: Grétry and the growth of opéra-comique . Cambridge 1986, pp. 24-26, 32. The stage works by Grétry mentioned below are also Opéras-comiques, unless otherwise noted.
- ↑ Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Paris Year 5 (1797), pp. 132–139, 143 f., 165–167 ( Textarchiv - Internet Archive ); David Charlton: Grétry and the growth of opéra-comique . Cambridge 1986, p. 40 f.
- ↑ Mme de Bawr: Grétry . In: Édouard Mennechet (ed.): Le Plutarque français (...), 7th volume, Paris 1840 ( digitized ), p. 4.
- ↑ Lucien Solvay, Ernest Closson (Ed.): Réflexions d'un solitaire par A.-E.-M. Grétry (…) Volume 3, Bruxelles / Paris 1921, p. 68 ( Textarchiv - Internet Archive ).
- ↑ The Comédie-Italienne kept the name even after they gave up the Italian repertoire in 1780 . Cf. Clarence D. Brenner: The Théâtre Italy, its Repertory 1716–1793 ( University of California Publications in Modern Philology 63), Berkeley 1961, p. 13.
- ↑ To be mentioned above all are Joseph Caillot, Jean-Baptiste Guignard called Clairval and Marie-Thérèse Laruette.
- ↑ Mme de Bawr: Grétry . In: Édouard Mennechet (ed.): Le Plutarque français (...), 7th volume, Paris 1840 ( digitized ), p. 4.
- ↑ Mme de Bawr: Histoire de la musique . Paris 1823 ( digitized version), pp. 251–255.
- ↑ Mme de Bawr: Grétry . In: Édouard Mennechet (ed.): Le Plutarque français (...), 7th volume, Paris 1840 ( digitized ), p. 1
- ^ David Charlton: Grétry and the growth of opéra-comique . Cambridge 1986, p. 63.
- ^ Maurice Tourneux (ed.): Correspondance littéraire, philosophique et critique (...) 8th volume, Paris 1879, p. 165 ( Textarchiv - Internet Archive ).
- ↑ Mme de Bawr: Grétry . In: Édouard Mennechet (ed.): Le Plutarque français (...), 7th volume, Paris 1840 ( digitized ), p. 5.
- ↑ Louis-Victor Flamand-Grétry: L'Ermitage de J. J. Rousseau et de Grétry (...) Montmorency / Paris 1820 ( digitized ), p. 140 * f.
- ↑ Lucien Solvay, Ernest Closson (Ed.): Réflexions d'un solitaire par A.-E.-M. Grétry (…) Volume 2, Bruxelles / Paris 1920, p. 146 ( Textarchiv - Internet Archive ).
- ↑ Lucien Solvay, Ernest Closson (Ed.): Réflexions d'un solitaire par A.-E.-M. Grétry (…) Volume 4, Bruxelles / Paris 1922, p. 184 ( Textarchiv - Internet Archive ).
- ↑ ( Mathieu-François Pidansat de Mairobert :) Mémoires secrets pour servir à l'histoire de la république des lettres en France (...) Volume 4, John Adamson, Londres 1777 ( digitized ), p. 204.
- ↑ See Georges de Froidcourt (ed.): La correspondance générale de Grétry (...). Bruxelles 1962, pp. 42-46, 65; Thomas Vernet: "Avec un très profond respect, je suis votre très humble et très obéïssant serviteur", Grétry et ses dédicataires, 1767–1789 . In: Jean Duron (Ed.): Grétry en société . Wavre 2009, pp. 61–99, here: pp. 72–80.
- ↑ French: "jolie comme un cœur".
- ↑ Maurice Tourneux (Ed.): Correspondance littéraire, philosophique et critique (…) 8th volume, Paris 1879, p. 468 ( Textarchiv - Internet Archive ).
- ↑ M. Elizabeth C. Bartlet: Grétry and the Revolution . In: Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique . Liège 1992, pp. 47–110, here: p. 50.
- ^ Cf. Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Paris Year 5 (1797), pp. 214–218 ( Textarchiv - Internet Archive )
- ↑ ( Mathieu-François Pidansat de Mairobert :) Mémoires secrets pour servir à l'histoire de la république des lettres en France (...) 6th volume, John Adamson, Londres 1777 ( digitized ), p. 26.
- ↑ Patrick Taïeb, Judith Le Blanc: Merveilleux et réalisme dans "Zémire et Azor": un échange entre Diderot et Grétry. In: Dix-huitème siècle , 2011/1 (No. 43), pp. 185–201 ( digitized version ), here: p. 185.
- ↑ Grétry looked bad from a young age. His right eye was smaller than the left and sometimes blinked. Cf. Louis-Victor Flamand-Grétry: L'Ermitage de J. J. Rousseau et de Grétry (...) Montmorency / Paris 1820 ( digitized version ), p. 140 * f.
- ↑ Maurice Tourneux (ed.): Correspondance littéraire, philosophique et critique (…) 9th volume, Paris 1879, p. 441 ( Textarchiv - Internet Archive ).
- ↑ Cf. M. Elizabeth C. Bartlet: Grétry, Marie-Antoinette et "La rosière de Salency" . In: Proceedings of the Royal Musical Association , 111/1984 f., Pp. 92-120; Sarah Maza: The Rose-Girl of Salency: Representations of Virtue in Prerevolutionary France . In: Eighteenth-Century Studies , 22/1989, pp. 395–412.
- ↑ See André-Joseph Grétry: Grétry en famille (…) Paris 1814 ( digitized ), p. 11; Lucien Solvay, Ernest Closson (Eds.): Réflexions d'un solitaire par A.-E.-M. Grétry (…) Volume 3, Bruxelles / Paris 1921, p. 269 ( Textarchiv - Internet Archive ).
- ↑ Louis-Victor Flamand-Grétry: L'Ermitage de J. J. Rousseau et de Grétry (…) Montmorency / Paris 1820 ( digitized version ), p. 173; Jean-Nicolas Bouilly: Mes récapitulations , 1st epoch, Paris (1836) ( digitized ), p. 153 et passim .
- ↑ M. Elizabeth C. Bartlet: Grétry and the Revolution . In: Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique . Liège 1992, pp. 47–110, here: p. 48 / note. 8. According to Bartlet, Bouilly also wrongly claimed to have been engaged to Antoinette. Cf. Jean-Nicolas Bouilly: Mes récapitulations , 1st epoch, Paris (1836) ( digitized version ), p. 327 et passim .
- ^ Jean-Nicolas Bouilly: Mes récapitulations , 1st epoch, Paris (1836) ( digitized version ), p. 239 f.
- ^ André-Ernest-Modeste Grétry: De la vérité (...) 1st volume, Paris year 9 (1801) ( digitized ), p. 155 f. including note 1.
- ^ André-Ernest-Modeste Grétry: De la vérité (...) 2nd volume, Paris year 9 (1801) ( digitized ), p. 223 f.
- ↑ Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 3, Paris Year 5 (1797), p. 438 ( Textarchiv - Internet Archive ) (freely translated).
- ^ Lacombe, Jacques (1724-1811) . In: CERL Thesaurus ( digitized version ).
- ↑ Thomas Vernet: "Avec un très profond respect, je suis votre très humble et très obéïssant serviteur", Grétry et ses dédicataires, 1767–1789 . In: Jean Duron (Ed.): Grétry en société . Wavre 2009, pp. 61–99, here: pp. 76/78.
- ↑ The Ages of Lully , Rameau and Gluck .
- ↑ See Paul Culot: Le jugement de Midas, opéra-comique d'André-Ernest-Modeste Grétry . Bibliothèque Royale Albert Ier, Bruxelles 1978.
- ^ Ernest Closson: Les marginales de Grétry in the "Essai sur la Musique" de Laborde . In: Revue belge de musicologie , 2/1948, pp. 106–124, here: p. 121.
- ↑ For comparison: The new Comédie-Italienne building in 1783/84 cost 380,000 livres. See David Charlton: Grétry and the growth of opéra-comique . Cambridge 1986, p. 210.
- ^ Correspondance secrete, politique & littéraire (...) 6th volume, John Adamson, Londres 1787 ( digitized version ), p. 224 f .; Jean-François de La Harpe : Correspondance littéraire (...) Volume 2, Migneret / Dupont, Paris Year 9, 1801 ( digitized version ), p. 256.
- ↑ Rudolph Angermüller : On the dating of the piano variations KV 264 (315d) and KV 352 (374c) . In: Florilegium Pratense, Mozart, his time, his posterity, selected essays (…) Königshausen & Neumann, Würzburg 2005, pp. 93–98.
- ↑ There he met Pierre-Louis Panseron (father of the composer Auguste-Mathieu Panseron ), to whom he is said to have dictated his last stage works. See Adolphe Ledhuy, Henri Bertini (ed.): Encyclopédie pittoresque de la musique , 1st volume. H. Delloye, Paris 1835 ( digitized version ), p. 113 f .; Pierre-Philippe-Urbain Thomas: Histoire de la ville de Honfleur . E. Dupray, Honfleur 1840 ( digitized version ), p. 308 f. Allegedly, Grétry Panseron even left the orchestration . Cf. François-Joseph Fétis : Biographie universelle des musiciens (...) 4th volume, Bruxelles 1837 ( digitized version ), p. 413.
- ↑ Souvenirs de Mme Louise-Élisabeth Vigée-Lebrun (…) Volume 1, H. Fournier, Paris 1835, p. 67 ( digitized version ).
- ↑ Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Paris year 5 (1797), 1st volume, p. 355 ( Textarchiv - Internet Archive ), 3rd volume, p. 87 f. ( Text archive - Internet Archive ). Gluck returned to Vienna in 1779 after suffering a stroke .
- ↑ Cf. Marie Bobillier ( pseudonym Michel Brenet): Grétry, sa vie et ses œuvres . Bruxelles 1884, pp. 159–161 ( Textarchiv - Internet Archive ).
- ^ In Philippe-François-Nazaire Fabre d'Églantine : Œuvres mêlées et posthumes , 1st volume, self-published by the widow, Paris year 11 (1802), pp. 117–127 ( digitized version ).
- ↑ Cf. Augustin-Benoît Reynier: Impromptu sur la nouvelle de la Maladie de M. Grétry . In: Mercure de France , January 27, 1781 ( digitized version ), p. 146.
- ↑ Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Paris Year 5 (1797), p. 360 f. ( Textarchiv - Internet Archive ).
- ↑ Grétry made this trip in the company of Victor Louis , the builder of the Grand Théâtre de Bordeaux . Compare Édouard-Georges-Jacques Grégoir: Grétry, célèbre compositeur belge . Bruxelles 1883, pp. 200-204 ( Textarchiv - Internet Archive ).
- ^ David Charlton: Grétry and the growth of opéra-comique . Cambridge 1986, p. 210.
- ^ Marie Bobillier (pseudonym Michel Brenet): Grétry, sa vie et ses œuvres . Bruxelles 1884, p. 168 ( Textarchiv - Internet Archive ).
- ↑ See Georges de Froidcourt (ed.): La correspondance générale de Grétry (…) Bruxelles 1962, pp. 121–123.
- ↑ Cf. Thomas Betzwieser: "Richard Cœur de Lion" in Germany: the Opéra-comique on the way to the "Great Opera" . In: Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique . Liège 1992, pp. 331-351.
- ^ Marie Bobillier (pseudonym Michel Brenet): Grétry, sa vie et ses œuvres . Bruxelles 1884, p. 205 f. ( Text archive - Internet Archive ).
- ^ Cf. Robert Adelson, Jacqueline last: Mozart Fille: Lucile Grétry (1772–1790) and the forgotten tradition of girl musical prodigies . In: Brigitte Van Wymeersch (Ed.): Mozart aujourd'hui . Louvain-la-Neuve 2006, pp. 249-261.
- ^ Cf. Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 2, Paris Year 5 (1797), pp. 399–404 ( Textarchiv - Internet Archive ).
- ↑ Mémoires ou Essai sur la musique par M (onsieur) Grétry (…) Avec Approbation & Privilége du Roi , Paris / Liège 1789 ( Textarchiv - Internet Archive ). A former professor at the Collège du Plessis named Legrand is said to have contributed to this . Cf. François-Joseph Fétis : Biographie universelle des musiciens (...) 3rd volume, Bruxelles 1837 ( digitized version ), p. 414.
- ↑ Cf. Manuel Couvreur: Le diable et le bon dieu ou L'incroyable rencontre de Sylvain Maréchal et de Grétry . In: Roland Mortier, Hervé Hasquin (eds.): Fêtes et musiques révolutionnaires: Grétry et Gossec . Bruxelles 1990 ( digitized version), pp. 99-125; M. Elizabeth C. Bartlet: Grétry and the Revolution . In: Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique . Liège 1992, pp. 47-110; Robert James Arnold: "Always a Friend of Liberty": The Fortunes of Grétry's Career and Reputation in the Revolution. In: Grétry's Operas and the French Public (…) Abingdon / New York 2016, pp. 109–139.
- ^ André-Ernest-Modeste Grétry: De la vérité (…) 1st volume, Paris year 9 (1801) ( digitized ), pp. 154–156.
- ↑ M. Elizabeth C. Bartlet: Grétry and the Revolution . In: Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique . Liège 1992, pp. 47–110, here: p. 52.
- ↑ Cf. Lucien Solvay, Ernest Closson (Ed.): Réflexions d'un solitaire par A.-E.-M. Grétry (…) Volume 2, Bruxelles / Paris 1920, p. 113 ( Textarchiv - Internet Archive ).
- ↑ Georges de Froidcourt (ed.): La correspondance générale de Grétry (…) Bruxelles 1962, p. 173 (“tapage de chien”).
- ^ Cf. Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 2, Paris Year 5 (1797), p. 418 f. ( Text Archive - Internet Archive ); Lucien Solvay, Ernest Closson (Eds.): Réflexions d'un solitaire par A.-E.-M. Grétry (…) Volume 4, Bruxelles / Paris 1922, p. 398 ( Textarchiv - Internet Archive ).
- ↑ Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 2, Paris year 5 (1797), S. XVII f./notes. ( Text archive - Internet Archive )
- ^ David Charlton: Grétry and the growth of opéra-comique . Cambridge 1986, p. 325.
- ^ Léonore ou L'amour conjugal (Leonore or Die Gattenliebe).
- ↑ In contrast, Schiller's drama , that after the dissolution of the Helvetic Republic by Napoleon arose reactionary undertones.
- ↑ Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 2, Paris Year 5 (1797), p. 20 ( Textarchiv - Internet Archive ). According to Jean-Nicolas Bouilly: Mes récapitulations , 1st Epoch, Paris (1836) ( digitized version ), p. 349, research in Geneva and the Swiss mountains would have been planned.
- ↑ Louis de Loménie : Beaumarchais et son temps (...), 2nd volume, Paris 1856, p. 456 f. ( Digitized version ).
- ↑ M. Elizabeth C. Bartlet: Grétry and the Revolution . In: Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique . Liège 1992, pp. 47–110, here: p. 50.
- ↑ Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 2, Paris Year 5 (1797), p. 415 ( Textarchiv - Internet Archive ).
- ↑ M. Elizabeth C. Bartlet: Grétry and the Revolution . In: Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique . Liège 1992, pp. 47–110, here: p. 65.
- ↑ Lucien Solvay, Ernest Closson (Ed.): Réflexions d'un solitaire par A.-E.-M. Grétry (…) Volume 2, Bruxelles / Paris 1920, p. 113 ( Textarchiv - Internet Archive ).
- ↑ Cf. M. Elizabeth C. Bartlet: Patriotism at the Opéra-Comique during the Revolution: Grétry's "Callias, ou Nature et patrie" . In: Atti del XIV Congresso della Società Internazionale di Musicologia (1987), Volume 3, EDT, Torino 1990, ISBN 88-7063-070-6 , pp. 839-852.
- ↑ M. Elizabeth C. Bartlet: Grétry and the Revolution . In: Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique . Liège 1992, pp. 47–110, here: pp. 48 f., 68–81.
- ↑ Manuel Couvreur: Le diable et le bon dieu ou L'incroyable rencontre de Sylvain Maréchal et de Grétry. In: Roland Mortier, Hervé Hasquin (eds.): Fêtes et musiques révolutionnaires: Grétry et Gossec . Bruxelles 1990 ( digitized version), pp. 99-125, here: p. 108 f.
- ↑ Jenny, Alexis (after attending the École polytechnique, became an engineer for bridge and road administration) and Joséphine (married Garnier), later in Jenny's place Caroline (married Renié). See Louis-Victor Flamand-Grétry: Mémoires (…) Paris 1826 ( digitized ), p. 99; Édouard-Georges-Jacques Grégoir: Grétry, célèbre compositeur belge . Bruxelles 1883, pp. 5, 130, 283 f. ( Text Archive - Internet Archive ); Lucien Solvay, Ernest Closson (Eds.): Réflexions d'un solitaire par A.-E.-M. Grétry (...) Volume 3, Bruxelles / Paris 1921, p. 14 / note. 1 ( Textarchiv - Internet Archive ), Volume 4, Bruxelles / Paris 1922, p. 17 ( Textarchiv - Internet Archive ).
- ^ Charles-Jean Goury de Champgrand, operator of a gaming club. Cf. George Duruy (Ed.): Mémoires de Barras (...) Volume 3, Paris 1896, p. 294 ( digitized version ).
- ↑ Madame de Bawr: Mes souvenirs (...) Paris 1853 ( Textarchiv - Internet Archive ), p. 21.
- ↑ The financially troubled Comédie-Italienne no longer paid the composer a salary.
- ↑ Lisbeth's score was the first that Grétry was able to reprint after Guillaume Tell .
- ^ Cf. Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Volume 1, Paris Year 5 (1797), pp. 270–272 ( Textarchiv - Internet Archive ).
- ↑ Madame de Bawr: Mes souvenirs . Paris 1853 ( digitized version ), p. 31 f.
- ↑ See Raphaëlle Legrand: "Elisca" ou les dangers de l'exotisme . In: Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique . Liège 1992, pp. 155-166.
- ^ To the end of the Second Coalition War .
- ^ André-Ernest-Modeste Grétry: Méthode simple pour apprendre à préluder en peu de temps avec toutes les ressources de l'harmonie . Paris year 10 (1802) ( digitized ); see. Anne-Noëlle Bouton: L'improvisation chez Grétry, À propos de la “Méthode simple pour apprendre à préluder” . In: Bulletin de la Société liégeoise de musicologie , 86/1994, pp. 5–13 ( digitized version ).
- ^ Zémire et et Azor and Pierre le Grand (1802), L'ami de la maison (1804), Richard Cœur de Lion (1806).
- ↑ Georges de Froidcourt (ed.): La correspondance générale de Grétry (…) Bruxelles 1962, pp. 267–271, 274, 320.
- ↑ A niece Stoufs married the following year André-Joseph Grétry.
- ↑ Lucien Solvay, Ernest Closson (Ed.): Réflexions d'un solitaire par A.-E.-M. Grétry (...) 4 volumes, Bruxelles / Paris 1919–1922.
- ↑ See Louis-Victor Flamand-Grétry: L'Ermitage de J. J. Rousseau et de Grétry (…) Montmorency / Paris 1820 ( digitized version), pp. 195–198.
- ↑ Mme de Bawr: Grétry . In: Édouard Mennechet (ed.): Le Plutarque français (...), 7th volume, Paris 1840 ( digitized version ), p. 6.
- ^ David Charlton: Grétry and the growth of opéra-comique. Cambridge 1986, pp. 3, 65-67, 214-216, 325.
- ↑ Cf. Mme de Bawr: Histoire de la musique . Paris 1823 ( digitized version ), p. 255.
- ↑ Mme de Bawr: Grétry . In: Édouard Mennechet (Ed.): Le Plutarque français (…), Volume 7, Paris 1840 ( digitized version ), pp. 1, 5. In the 1847 edition, editor Térence Hadot replaced “Marshal of France” with “Reichsfürst” . ( Digitized version ) The wording from 1840 is restored in Madame de Bawr: Mes souvenirs . Paris 1853 ( digitized version ), pp. 22, 33.
- ↑ Mme de Bawr: Histoire de la musique . Paris 1823 ( digitized version ), pp. 251, 254.
- ↑ Le moniteur universel , December 17, 1813, pp. 1405 f. ( Digitized version ); Mme de Bawr: Histoire de la musique . Paris 1823 ( digitized version ), p. 257 f .; see. Jean-Nicolas Bouilly: Mes récapitulations , 3rd epoch, Paris (1836) ( digitized version), pp. 123-134; Robert James Arnold: "We are Nothing but a Single Distraught Family": Mourning and Mythologising after Grétry's Death . In: Grétry's Operas and the French Public (…) Abingdon / New York 2016, pp. 177–212.
- ↑ Le moniteur universel , September 29, 1813, p. 1073 f. ( Digitized version ).
- ↑ Louis-Victor Flamand-Grétry: L'Ermitage de J. J. Rousseau et de Grétry (…) Montmorency / Paris 1820 ( digitized version ), ill. Before p. 249; Louis-Victor Flamand-Grétry: Mémoires (...) Paris 1826 ( digitized version ), ill. On p. 145.
- ↑ Cf. Remise solennelle du cœur de Grétry à la ville de Liége (...) P.-J. Collardin, Liége 1829 ( digitized version ).
- ↑ See Inauguration de la statue de Grétry, à Liége and Fêtes de Grétry à Liége . In: La Renaissance , Volume 4, Bruxelles 1842 f. ( Digitized version ), pp. 42–44 and 58–60, Liszt mentions: pp. 59 f.
- ↑ Abend-Zeitung (Dresden), May 17, 1817, p. 2 verso, quoted. based on: Carl Maria von Weber Complete Edition ( digitized version ).
- ↑ Gustav Schilling (Ed.): Encyclopedia of the Entire Musical Sciences (...) 3rd volume, Stuttgart 1836 ( digitized ), p. 306 f.
- ^ In Antwerp , Bergen op Zoom , Brest , Brussels, Liège, Maastricht , Maisons-Laffitte , Montmorency , Nantes , Nîmes , Paris, Perpignan and Roubaix .
- ↑ Minor Planet Circ. 12210 (PDF)
- ↑ See Thomas Vernet: "Avec un très profond respect, je suis votre très humble et très obéïssant serviteur", Grétry et ses dédicataires, 1767–1789 . In: Jean Duron (Ed.): Grétry en société . Wavre 2009, pp. 61-99.
- ^ François-Auguste Gevaert , Édouard Fétis, Alfred Wotquenne et al. (Ed.): Collection complète des œuvres de Grétry, publiée par le Gouvernement belge. Published: 49 deliveries, Breitkopf & Härtel , Leipzig, Bruxelles (1884–1936). Remained incomplete, according to David Charlton: Grétry and the growth of opéra-comique . Cambridge 1986, p. XII, not uncritically usable.
- ^ Lost except for the printed libretto.
- ↑ Only partially preserved.
- ↑ Not listed, lost except for games used elsewhere.
- ↑ Unfinished.
- ↑ Mémoires, ou Essais sur la musique; par le C (itoy) en Grétry (…) Paris Year 5 (1797), Volume 3, p. 472 ( Textarchiv - Internet Archive ).
- ↑ Also version in 1 act (1776), new version see under 1786.
- ↑ redesigned in 1772.
- ↑ Also Comédie-féerie.
- ↑ First libretto by Pierre-Robert-Christophe Ballard (1773): Opéra lyri-comique, 4 acts.
- ↑ 1775 and 1777 redesigned.
- ↑ 1775 (1 act), 1776 and 1778/79 (2 acts each) redesigned.
- ↑ Redesigned in 1782.
- ↑ Unfinished.
- ↑ Mostly lost.
- ↑ Morganatic wife of the Duke of Orléans ( Louis-Philippe I ).
- ↑ Also Le génie de l'Opéra or Les trois âges de la musique.
- ↑ With excerpts from works by Lully , Rameau , Francœur and Rebel , Gluck and Grétry.
- ↑ Unfinished?
- ↑ redesigned in 1780.
- ↑ First 4 acts.
- ↑ Sister of the Duke of Choiseul .
- ↑ Redesigned in 1781.
- ↑ Decided Gossec's ballet La fête de Mirza.
- ↑ Not listed, lost.
- ↑ 1785 expanded.
- ↑ Redesigned in 1782.
- ↑ Not listed.
- ↑ Also La jeune Thalie. Lost.
- ^ Minister of the Royal Household.
- ↑ Version 1: Théodore et Paulin . Comédie lyrique, 3 acts (1784).
- ↑ 1785 redesigned in 4, then 3 acts.
- ↑ Not listed.
- ↑ Redesigned in 1788.
- ↑ 3rd act: La suite du comte d'Albert (1787); New version: Albert et Antoine ou Le service récompensé (1794).
- ↑ 2nd version: Clarice et Belton ou Le prisonnier anglais (1793).
- ↑ First 4 acts.
- ↑ parody of mariages Les Samnites (1776), not listed. See M. Elizabeth C. Bartlet: Politics and the Fate of Roger et Olivier, a Newly Recovered Opera by Grétry . In: Journal of the American Musicological Society , 37/1984, pp. 98-138.
- ↑ Not listed.
- ↑ Originally La fête de la Raison (1793).
- ↑ parody of Les mariages samites (1776) and on a piece of Les deux couvents not listed (1792).
- ↑ Not listed.
- ↑ parody of La rosière républicaine (1794) and other works.
- ↑ 2nd version: Elisca ou L'habitante de Madagascar (1812).
- ^ To the end of the Second Coalition War .
- ↑ Also Zelmar ou Les Abencerages. Not listed.
- ↑ Originally: Le ménage.
- ↑ Works with over 30,000 hits in a Google search.
- ↑ Arrangement of Dalayrac's Veillons au salut de l ' Empire (1791).
- ↑ According to ... the source for Grétry's biography is not always complete and accurate.
- ^ According to David Charlton: Grétry and the growth of opéra-comique . Cambridge 1986, p. XII, not always the (incomplete) eight volumes of Grétry's manuscript .
- ↑ Unsystematic, uncritical, but rich in material.
- ↑ Standard work, but makes use of Bouilly's fictional recapitulations .
- ↑ Covers the period up to 1769. See the author's manuscripts in the Bibliothèque de Genève .
- ↑ In contrast to Charlton, it also deals with Grétry's classical operas.
- ↑ Handbook-like standard work. Deals in depth with 23 Opéras-comiques Grétrys from the period up to 1791 and the development of this genre, but only incidentally the classical operas. Excursions on the composer's biography (add Bobillier) and on his overtures and entractes .
- ↑ Concentrated on the period 1793/94, an indispensable addition to Charlton, recognized the fictionality of Bouilly's Récapitulations.
- ↑ Popular science.
- ↑ Cf. M. Elizabeth C. Bartlet: Grétry and the Revolution . In: Philippe Vendrix (ed.): Grétry et l'Europe de l'opéra-comique . Pp. 47–110, here: p. 48 incl. Note 8.
| personal data | |
|---|---|
| SURNAME | Grétry, André-Ernest-Modeste |
| ALTERNATIVE NAMES | Grétry, André |
| BRIEF DESCRIPTION | Belgian-French classical composer |
| DATE OF BIRTH | February 8, 1741 |
| PLACE OF BIRTH | Liege |
| DATE OF DEATH | September 24, 1813 |
| Place of death | Montmorency near Paris |