Canonic Repertories and the French Musical Press PDF Download

Author: William Weber
Publisher: Boydell & Brewer
ISBN: 1648250165
Category : History
Languages : en
Pages : 328

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Book Description
A bold application of the concept of canonical works to the development of French operatic and concert life in the eighteenth and nineteenth centuries.

Author: Emily Kilpatrick
Publisher: Boydell & Brewer
ISBN: 1648250548
Category : Songs
Languages : en
Pages : 468

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Book Description
A ground-breaking study of the musical and literary priorities, professional practices and creative interactions that shaped one of the most adventurous artforms of the Belle Époque.

Author: Rachel Orzech
Publisher: Boydell & Brewer
ISBN: 1580469701
Category : History
Languages : en
Pages : 263

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Book Description
"This book examines the shifting attitudes toward Wagner reflected in the Parisian press during the period of the Third Reich. Paradoxically, during one of the darkest periods of French history, as the German threat grew more tangible and then manifested in the Nazi occupation of France, Parisians chose to see in Wagner a universality that transcended his Germanness. As Franco-German diplomatic relations gradually worsened in the 1930s, Wagner became an increasingly integral part of French musical culture. Parisians were unwilling to surrender Wagner to German exclusivist claims. In previous decades the French had used Wagner to symbolize a diverse array of political arguments and positions, from right-wing nationalism to left-wing humanism and egalitarianism, In the 1930s, however, the Parisian press depicted him as a universalist. Although Wagner had stood in for German nationalism and chauvinism in recent periods of Franco-German conflict, in the 1930s Parisians refused this notion and attempted to reclaim his role in their own national history and imagination. Even once war was declared in 1939 and a ban on the performance of Wagner's music was implemented, commentators insisted that it was simply a temporary measure designed to avoid public disturbance. Simultaneously, they maintained that 'music has no borders,' and that 'it is childish to mix art and politics.' The Wagner discourses that emerged from the 1930s Parisian press paved the way for the dominant Wagner discourse in the German-controlled Occupation press: Collaboration through Wagner. By a great irony of history, the concept of Wagner the universalist that had been used to resist the Nazis in the 1930s was transformed into the infamous collaborationist rhetoric promoted by the Vichy government between 1940 and 1944"--

Author: Kerry Murphy
Publisher: Lyrebird Press lyrebirdpress.music.unimelb.edu.au
ISBN: 0734038011
Category : Music
Languages : en
Pages : 286

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Book Description
This book on the Australian music publisher and patron Louise Hanson-Dyer brings together, for the first time, an international group of scholars with expertise in the history of early French musicology and sound recording; fine art and design; and critical editions and music publishing in France. With a focus on the interwar period, it aims to synchronise Hanson-Dyer’s Melbourne and Paris ventures, seeing her work in a global perspective and showing how she played a significant role in the transnational cultural relationship between Australia and France. Hanson-Dyer had vision and objectives and the drive to realise them; this volume situates the consolidation of her role as cultural activist in early twentieth-century Europe and Australia and presents new light on her publication of critical musical editions, her art collections and early sound recordings.

Author: Sarah Kirby
Publisher: Boydell & Brewer
ISBN: 1783276738
Category : Exhibitions
Languages : en
Pages : 264

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Book Description
"International exhibitions were among the most significant cultural phenomena of the late nineteenth century. These vast events aimed to illustrate, through displays of physical objects, the full spectrum of the world's achievements, from industry and manufacturing, to art and design. But exhibitions were not just visual spaces. Music was ever present, as a fundamental part of these events' sonic landscape, and integral to the visitor experience. This book explores music at international exhibitions held in Australia, India, and the United Kingdom during the 1880s. At these exhibitions, music was codified, ordered, and all-round 'exhibited' in manifold ways. Displays of physical instruments from the past and present were accompanied by performances intended to educate or to entertain, while music was heard at exhibitors' stands, in concert halls, and in the pleasure gardens that surrounded the exhibition buildings. Music was depicted as a symbol of human artistic achievement, or employed for commercial ends. At times it was presented in nationalist terms, at others as a marker of universalism. This book argues, by interrogating the multiple ways that music was used, experienced, and represented, that exhibitions can demonstrate in microcosm many of the broader musical traditions, purposes, arguments, and anxieties of the day. Its nine chapters focus on sociocultural themes, covering issues of race, class, public education, economics, and entertainment in the context of music, trading these through the networks of communication that existed within the British Empire at the time. Combining approaches from reception studies and historical musicology, this book demonstrates how the representation of music at exhibitions drew the press and public into broader debates about music's role in society"--Page 4 of cover.

Author: Andrew H. Weaver
Publisher: Boydell & Brewer
ISBN: 1648250890
Category : Literary Criticism
Languages : en
Pages : 309

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Book Description
Featuring 28 music examples this book takes an innovative approach to analyzing and interpreting nineteenth-century German song, offering new perspectives on Robert Schumann's Lieder and song cycles. Robert Schumann's Lieder are among the richest and most complex songs in the repertoire and have long raised questions and stimulated discussion among scholars, performers, and listeners. Among the wide range of methodologies that have been used to understand and interpret his songs, one that has been conspicuously absent is an approach based on narratology (the theory and study of narrative texts). Proceeding from the premise that the performance of a Lied is a narrative act, in which the singer and pianist together function as a narrator, Andrew Weaver's groundbreaking study proposes a comprehensive theory of narratology for the German Romantic Lied and song cycle, using Schumann's complete song oeuvre as the test case. The theory, grounded in the work of narratologist Mieke Bal but also drawing upon recent work in literary theory and musicology, illuminates how music can open up new meanings for the poem, as well as how a narratological analysis of the poem can help us understand the music. Weaver's book offers new insights into Schumann's Lieder and the poetry he set while simultaneously proposing a methodology applicable to the analysis and interpretation of a wide range of works, including not only the rich treasury of German Lieder but also potentially any genre of accompanied song in any language from the Middle Ages to the present day.

Author: Charles-Marie Widor
Publisher: Boydell & Brewer
ISBN: 1648250866
Category : Biography & Autobiography
Languages : en
Pages : 299

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Book Description
"Widor's Toccata is the most famous organ piece composed in the past three hundred years-since Bach's ubiquitous Toccata in D Minor. Linked inseparably with the organ through his ten seminal organ symphonies and legendary sixty-four years as organist at Saint-Sulpice, Widor drew crowds of doting admirers from all walks of life around himself and Cavaillâe-Coll's great organ of one hundred stops. It is apparent throughout these "Autobiographical Recollections" that Widor was well-connected, moving with ease among the intelligentsia, presidents, politicians, royalty, nobility, patrons, and artists. A keen observer and a man of sophistication and extraordinary erudition, Widor was an all-embracing musician and notable historical figure who led an active life beyond his famous organ gallery. As permanent secretary of the Academy of Fine-Arts, he was the cultural ambassador of France for more than twenty years. Few musicians of any era have had a broader experience, wider sphere of influence, and greater number of significant and varied accomplishments. Preceded by a comprehensive Preface, these "Autobiographical Recollections," narrated in the last months of Widor's life, are translated into English for the first time, meticulously edited, and profusely annotated. The persons, political details, and historical events that Widor spoke of with great fluency are identified in notes that give the reader a full understanding of the narrative. Several appendixes and a trove of hitherto unpublished photos illuminate the text. John R. Near is Professor Emeritus of Music, Principia College, and author of Widor: A Life beyond the Toccata and Widor on Organ Performance Practice and Technique"--

Author: Katharina Clausius
Publisher: Boydell & Brewer
ISBN: 1648250491
Category : Music
Languages : en
Pages : 265

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Book Description
A curated collection of Enlightenment operas, paintings, and literary works that were all marked by the "Telemacomania" scandal, a furious cultural frenzy with dangerous political stakes. Imaginatively structured as a guided tour, Opera and the Politics of Tragedy captures the tumultuous impact of the so-called Telemacomania crisis through its key artifacts: literary pamphlets, spoken dramas, paintings, engravings, and opera librettos (drammi per musica). Prominently featured in the gallery are two operas with direct ties to this aesthetic and political war: Mozart and Cigna-Santi's Mitridate (1770) and Mozart and Varesco's Idomeneo (1781). Reading and listening across the Enlightenment's cultural spaces (its new public museums, its first encyclopedias, and its ever-controversial operatic theater), this book showcases the Enlightenment's disorderly historical revisionism alongside its progressive politics to expose the fertile creativity that can emerge out of the ambiguous space between what is "ancient" and what is "modern."

Author: Deborah Mawer
Publisher: Boydell & Brewer
ISBN: 1837650322
Category : Music
Languages : en
Pages : 383

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Book Description
Brings new insights to the music of well-known European composers by telling a fascinating, little-known story about French music publishing, specifically through the lens of Jacques Durand's Édition Classique. French composers, performers and musicologists acted as editors of eighteenth- and nineteenth-century European 'classics', primarily for piano. Among these editors were Fauré, Saint-Saëns, Debussy, Ravel and Dukas; the objects of their enquiries included core works by Rameau, Bach, Mozart, Beethoven, Mendelssohn, Schumann and Chopin. Presenting six composer-editor case studies, the volume shows that the French 'accent', both musical and cultural, upon this predominantly Austro-German music was highly varied. Editorial responses range from scholarly approaches to those directed by performance or compositional agendas, and from pan-European to strongly patriotic stances. Intriguing intersections are revealed between old and new, and between French and cross-European canons. Beyond editing, the book explores the Édition's role in pedagogy and performance, including by pianists Robert Casadesus and Yvonne Loriod, and in the reassertion of contemporary French composition, especially regarding innovation around neoclassicism. It will interest a wide readership, including musicologists, performers and concert-goers, cultural historians and other humanities scholars.

Author: Cormac Newark
Publisher: Oxford University Press
ISBN: 0190224215
Category : Music
Languages : en
Pages : 456

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Book Description
Opera has always been a vital and complex mixture of commercial and aesthetic concerns, of bourgeois politics and elite privilege. In its long heyday in the eighteenth and nineteenth centuries, it came to occupy a special place not only among the arts but in urban planning, too this is, perhaps surprisingly, often still the case. The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by tracing its evolution from a market entirely driven by novelty to one of the most canonic art forms still in existence. Throughout the book, a lively assembly of musicologists, historians, and industry professionals tackle key questions of opera's past, present, and future. Why did its canon evolve so differently from that of concert music? Why do its top ten titles, all more than a century old, now account for nearly a quarter of all performances worldwide? Why is this system of production becoming still more top-heavy, even while the repertory seemingly expands, notably to include early music? Topics range from the seventeenth century to the present day, from Russia to England and continental Europe to the Americas. To reflect the contested nature of many of them, each is addressed in paired chapters. These complement each other in different ways: by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting or changing contexts. Posing its questions in fresh, provocative terms, The Oxford Handbook of the Operatic Canon challenges scholarly assumptions in music and cultural history, and reinvigorates the dialogue with an industry that is, despite everything, still growing.