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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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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.

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