Challenges the longstanding perception that modernist composers
made art, not money, and that those who made money somehow failed
to make art. Patrons have long appeared as colorful, exceptional
figures in music history, but this book recasts patrons and
patronage as creative forces that shaped the sounds and meanings of
new French music between the world wars. Far from mere sources of
funding, early twentieth-century patrons collaborated closely with
composers, treating commissions for new music as opportunities to
express their own artistry. Patrons developed new pathways to
participate in music-making, going beyond commissions to establish
ballet companies, manage performance venues, and establish state
programs. The impressive variety of patronage activities led to an
explosion of new music as well as new styles and -isms, indelibly
marking the repertoire that this book examines, including a number
of pieces frequently heard in concert halls today. In addition to
offering new perspectives on well-known French repertoire, this
book challenges conceptions of patronage as a bygone phenomenon.
Complementing a dwindling cast of aristocratic patrons were new
ranks of music publishers, impresarios, state bureaucrats, opera
directors, and others capitalizing on their savings, social
connections, and artistic vision to bring new music into the world.
In chapters on French discourse around patronage, aristocratic
commissions, the stimulus provided by the interwar dance craze,
music publishing, the Paris Opera, state intervention in French
musical life, and transatlantic musical exchanges, the book blends
cultural history with primary source study and music analysis. It
not only improves our understanding of French musical life and
culture during the early twentieth century but also supplies us
with essential insights into the ways modern music emerged at the
intersection of music composition, aesthetic and national politics,
and the creative labor of patrons.
General
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