By Katharine Ellis
This learn of the French early song revival offers us a shiny feel of ways music's cultural meanings have been contested within the 19th century. It surveys the most styles of revivalist task whereas additionally offering in-depth experiences of repertories stretching from Adam de l. a. Halle to Rameau.
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Extra resources for Interpreting the Musical Past: Early Music in Nineteenth-Century France
Predicted. ” 55. Le Voltaire, 30 July & 8 August 1879, 1st instalment. ). 56. For a brief history of this idea, see my “A Dilettante at the Opera,” 58. 1800–1846 19 combined with practical oblivion. Respect for the historic nature of the music was, however, essential. Music that failed on this count (ancien-régime church music is an example) stood no chance of success. In any case, before 1848 the criteria by which all such choices were made were largely predictable: the Italianism of Napoléon’s reign left la musique française crippled by perceptions of its deﬁciency as music.
127. 27. “Un mot en dit la cause: non erat huis locus; ce n’est point-là leur place. ” G[inguené], Mercure de France (henceforth MF), 13 April 1811, 87. 1800–1846 11 Publishing and Education Even when they proved to be business failures, new commercial editions (many destined for domestic consumption) indicated a high level of public interest in the music itself. Choron, for instance, was always in ﬁnancial difﬁculty. Yet it would be misguided to interpret his seemingly perpetual insolvency as evidence of the public’s apathy toward early music.
MF 7 October 1809, 369. 48. ” MF 7 October 1809, 369. 49. MF 7 October 1809, 369–70. 50. Choron and Fayolle, Dictionnaire historique des musiciens, vol. 1 (1810), lxxix-lxxx, given in Cannone “L’éclipse de la musique baroque,” 532–33. 51. Martine, De la musique dramatique, 68–69. 52. For a recent analysis of the latter, see Massip, “Berlioz and Early Music,” 25–28. 18 patterns of revival signs of an underlying fear that revival might be possible: in 1826, “M. 55 By this stage Stendhal was, in his denigration of French “music” in general and Rameau in particular, merely following a trajectory that had already been outlined in the late eighteenth century.