By Katharine Ellis
This examine of the French early tune revival supplies us a shiny experience of ways music's cultural meanings have been contested within the 19th century. It surveys the most styles of revivalist task whereas additionally delivering in-depth experiences of repertories stretching from Adam de l. a. Halle to Rameau.
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E-book Description: this can be a substantial choice of nice Arthurian literature: poetry, drama and essays, written after the most canon, largely within the 18th via to the early twentieth centuries. desk of Contents: Publisher's Preface; Rosenthal's Elaine, through William Henry Rhodes ; King Arthur's Sleep, by way of Ernest Rhys ; The dying Of Merlin, by means of Ernest Rhys ; The Waking Of King Arthur, Brechva's Harp music, by means of Ernest Rhys ; Sir Launcelot And The Sancgreal, by way of Ernest Rhys ; town Of Sarras, by means of Ernest Rhys ; The Lament Of Sir Ector De Maris, by means of Ernest Rhys ; The final Sleep Of Sir Launcelot, by means of Ernest Rhys ; the search Of The Grail: at the Eve, via Ernest Rhys ; Timor Mortis, by means of Ernest Rhys ; Merlin, via Edwin Arlington Robinson ; God's Graal, through Dante Gabriel Rossetti ; The delivery Of Merlin; Or, The Childe Hath stumbled on His Father, via William Rowley ; The Bridal Of Triermain, via Sir Walter Scott ; vivien, by way of Alan Seeger ; Gawain And the woman Of Avalon, via George Augustus Simcox ; The Farewell Of Ganore, through George Augustus Simcox ; Camelford, by way of Douglas B.
Extra info for Interpreting the Musical Past: Early Music in Nineteenth-Century France
Marmontel’s piano pupils included several key ﬁgures in this study: Camille Bellaigue, Charles Bordes, Louis Diémer, Théodore Dubois, Vincent d’Indy, and the opera director Auguste-Emmanuel Vaucorbeil. He also taught Bizet. 16 patterns of revival use in performance, early nineteenth-century culture reveals a clearer sense of hierarchy. 44 For all its symbolic signiﬁcance, this revival went entirely against the grain of early nineteenth-century opinion on the merits of French music before around 1760 and did nothing to turn the tide of derision which characterized it.
63. On the Ultramontane side, see Franklin, Nineteenth-Century Churches; for a summary of how Ultramontane ideas stimulated interest in medieval music manuscripts and their transcription, see Bergeron, Decadent Enchantments, 15–17. 64. See chapters 5 and 6. 22 patterns of revival The Cultural Inﬂuence of Fétis: The concert historique No Francophone writer on music history could match Fétis as a setter of cultural agendas during this period. He pronounced: others either paraphrased or (belatedly) protested.
RM 6/12: 14 April 1832, 83. 68. ” RM 6/13: 28 April 1832, 98. ”69 Presenting French Baroque music as inferior to its Italian counterpart was old hat; what was new, and highly inﬂuential, was to conceptualize the problem in terms of imperfection, transition, and perfection. Where Choron had written subjectively of vitality and decadence in 1810, Fétis’s appeals to teleology gave a similar judgement the air of scholarly legitimacy. Italian and Italian-inspired German opera was not better because it conformed more to Fétis’s taste, but because he, as an historian of music, said it dated from a period of perfection.