¹ Coquéau, Claude Philibert, L'Entretiens sur l'état actuel de l'Opéra de Paris (Amsterdam, 1779), 104f.Google Scholar, rpt. in Lesure, François, ed., Querelle des Gluckistes et des Piccinnistes (Genf, 1984), II, 367–540.Google Scholar In the original: ‘Pour moi, je ne me lasse pas d'admirer avec quelle intelligence M. Piccinni a conduit le spectateur de sentiment en sentiment, d'intérêt en intérêt, comme il a gradué l'effet de sa musique, comme non seulement chaque scène est sentie; mais encore ses rapports avec l'ensemble général du sujet, comme tous les airs, tous les récitatifs, tous les ballets, tous les choeurs tendent rappeller cet ensemble, comme tous ces groupes particuliers finissent par former un groupe totale où tout est d'accord, tout est vrai, où chaque détail fait valoir ceux qui l'entourent. Voila ce qu'il faut vraiment appeller de la musique dramatique.’

² See Henze-Döhring, Sabine, Opera seria, Opera buffa und Mozart ‘Don Giovanni’, Analecta musicologica 24 (Laaber, 1986).Google Scholar

³ see Leopold, Silke, ‘Opernreformen’, in Die Musik des 18. Jahrhunderts, Neues Handbuch der Musikwissenschaft 5, ed. Dahlhaus, Carl (Laaber, 1985), 240–3.Google Scholar

⁴ Three studies written in the 1970s are available in typescript: Allroggen, Gerhard, Studien zu den italienischen Opern N. Piccinnis (Bochum, 1976)Google Scholar; Liggett, McG., ‘A Biography of N. Piccinni and a Critical Study of his “La Didone” and “Didon”’, diss. (Washington Univ., 1977)Google Scholar; Rushton, Julian, ‘Music and Drama at the Académie Royale de Musique (Paris) 1774–1789’, diss. (Oxford Univ., 1970).Google Scholar More recently, see Hortschansky, Klaus, ‘Atys’, and Iphigénie en Tauride’, Pipers Enzyklopädie des Musiktheaters, IV (Munich, 1991), 783 and 784.Google Scholar

⁵ See the dissertation cited in n. 4, 355ff., and ‘The Theory and Practice of Piccinnisme’, Proceedings of the Royal Musical Association, 98 (1971/1972), 31–46.CrossRefGoogle Scholar

⁶ See the comments in ‘Iphigénie en Tauride: The Operas of Gluck and Piccinni’, Music and Letters, 53 (1972), 411–30.Google Scholar

⁷ see Loewenberg, Alfred, Annals of Opera (Totowa, N.J., 1978), 405.Google Scholar

⁸ Ginguené, Pierre-Louis, Notice sur la vie et les ouvrages de Nicolò Piccinni (Paris, 1800), 82.Google Scholar

⁹ Cf. Kunze, Stephan, ‘Gluck, oder: Die “Natur” des musikalischen Dramas’, in Christoph Willibald Gluck und die Opernreform, ed. Hortschansky, Klaus, Forschung, Wege der 613 (Darmstadt, 1989), 390–418.Google Scholar

¹⁰ See various sources edited by Lesure, (n. 1), I, 202ff., 214, 420.Google Scholar

¹¹ See Marmontel, Jean-François, ‘Essai sur les révolutions dans la musique en France’, ed. Lesure (n. 1), 161 and 172f.Google Scholar

¹² ‘Piccinnisme’ (see n. 5), 34.Google Scholar

¹³ The following discussion of ‘chant périodique’ will be treated at greater length in my Habilitationsschrift, Die französischen Opern Niccolò Piccinnis.

¹⁴ see Groth, Renate, Die französische Kompositionslehre des 19. Jahrhunderts, Beihefte zum Archiv für Musikwissenschaft 22 (Wiesbaden, 1983), 155ff.Google Scholar

¹⁵ Dictionnaire de la musique moderne, II (Paris, 1831), 141.Google Scholar

¹⁶ Essai sur l'union de la poésie et de la musique (Paris, 1765; rpt. Geneva, 1970), 6.Google Scholar

¹⁷ Ed. Lesure, (see n. 1), 196.Google Scholar

¹⁸ “Air’, Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers, Supplément, I (Paris and Amsterdam, 1776), 237Google Scholar; Eléments de littérature, in his Ouvres complètes (Paris, 1818–1819), XII, 155.Google Scholar

¹⁹ Eléments de littérature, in Ouvres complètes, XIV, 544.Google Scholar

²⁰ In Lesure, (see n. 1), 169.Google Scholar

²¹ Cf. the entries ‘Air’ in the Supplément to the Encyclopédie (n. 18 above) and «Période’ in the Encyclopédie itself, XII (Neuchâtel, 1765), 361f.Google Scholar

²² Essai (see n.16), 18.Google Scholar

²³ The further implications will be discussed in chapter 1 of my Habilitationsschrift (see n. 13).

²⁴ Essai (see n. 16), 17.Google Scholar

²⁵ Encyclopédie, X (Neuchâtel, 1765), 767.Google Scholar Cf. the entry Motivo by Blumröder, Christoph von in the Handwörterbuch der musikalischen Terminologie, ed. Eggebrecht, Hans Heinrich, esp. 3–5.Google Scholar

²⁶ ‘Dessein’ was often used synonymously with ‘motif’; cf. the above-cited entry on air by Marmontel (n. 18).

²⁷ Döhring, (see n. 2), 131f.Google Scholar, emphasises that ‘Gluck by no means dethroned the aria as a genre; on the contrary, he significantly expanded its wealth of forms in the tragédie lyrique by comparison with Lully and Rameau. He merely eliminated (albeit not entirely) the virtuoso aria of the Neapolitan type.’

²⁸ In Gluck the dream reflects the events surrounding the murder of Agamemnon and Clytemnestre and an intimation of Oreste's sacrifice.

²⁹ ‘Iphigénie’ (see n. 6), 414.Google Scholar

³⁰ See Matthias Brzoska's analysis of Becton's Rigueurs du Cloître, ‘De l'Anticléricalisme révolutionnaire au cléricalisme anti-révolutionnaire chez H. M. Berton de 1790 â 1799’, in Le Tambour et la harpe: Ckuvres, pratiques et manifestations musicales sous la Révolution, 1788–1800, ed. Julien, Jean-Rémy and Mongrédien, Jean (Paris, 1991), 260.Google Scholar

³¹ Cited from Weisstein, Ulrich, ed., The Essence of Opera (1964; rpt. New York, 1969), 106.Google Scholar

³² Essai, ed. Lesure, (see n. 1), 181.Google Scholar

³³ See his ankle ‘Période’, in Eléments (n. 19), 532ff.Google Scholar

³⁴ See Marmontel, ‘Récitatif’, in the Supplément to the Encyclopédie (n. 18), IV, 585.Google Scholar

³⁵ Rushton observes that Gluck's arias are usually intended as intensification; ‘Piccinnisme’ (see n. 5), 37ff.Google Scholar

³⁶ Such a conception derives from the French operatic tradition. See, for example, the first aria in Rameau's Zoroastre, ‘Non je ne puis assez punir’, which is interrupted by insened recitative.

³⁷ Similar forms are found in Piccinni's Italian operas; see, for example, Cecchina's ‘Padre mio, dove sei tu’, which interrupts a recitative.

³⁸ Rushton's comparison of the libretti in his article ‘Iphigénie’ (see n. 6), 414Google Scholar, comes to the opposite conclusion. Guillard's use of the subject is said to be economical, while Dubreuil repeats the storm and question scenes. On the other hand, he concedes that Guillard repeats Oreste's mad scene, which forms an important part of the dispute with Pilade, the first being ‘genuine’, the second ‘self-induced’. But the same argument can be made for Piccinni's and Dubreuil's storm scene; and the importance of the shipwreck, which Rushton characterises as ‘without dramatic importance’, has also been discussed above. By contrast, Guillard resolves the recognition scene better, avoiding a second set of questions: as Iphigénie approaches him with the sacrificial knife raised, Oreste calls out, ‘Ainsi tu péris en Aulide, Iphigénie ô ma soeur!’ Rushton justifiably explains the ‘apparent leisureliness’ of this important scene in Guillard by reference to its psychological complexity, but does not consider Dubreuil's and Piccinni's differing conceptions, judging their work according to Gluckian criteria.

³⁹ Roullet, Du, Lettre sur les Drames-Opéra (Paris, 1776), 11Google Scholar; rpt. in Lesure, (see n. 1), 117.Google Scholar

⁴⁰ See her entry on ‘Alceste’ in Pipers Enzyklopädie des Musiktheaters, II (Munich, 1987), 444.Google Scholar