A bold application of the concept of "canonical" works to the
development of French operatic and concert life in the eighteenth
and nineteenth centuries. This long-awaited book by a leading
historian of European music life offers a fresh reading of concert
and operatic life by showing how certain musical works in
eighteenth- and nineteenth-century France came to be considered
"canonic": that is, admirable and worthy of being taken as models.
In a series of interlinked essays, William Weber draws particular
attention to the ways in which such reputations could shift in
different eras and circumstances. The first chapter outlines how
such a surge of reputation came about for Jean-Baptiste Lully after
his death in 1687, followed a century later by one for the operas
of Christoph-Willibald Gluck and Niccolò Piccinni. Next, Beverly
Wilcox contributes a crucial chapter exploring how a canon of
sacred works evolved at the Concert Spirituel between 1725 and
1790. Subsequent chapters detail the rise of an "incipient canon"
for Joseph Haydn's music in the 1780s; a new operatic canon
centered on works of Gioachino Rossini and Giacomo Meyerbeer; a
century-long canonic repertory at the theater of the
Opéra-Comique; and, between 1860 and 1914, frequent concert
performances of excerpts from Wagner's operas, sometimes along with
excerpts from Meyerbeer's. Throughout, Weber and Wilcox demonstrate
how the French musical press reflected musical taste, and also
shaped it, across two centuries.
General
| Imprint: |
University of Rochester Press
|
| Country of origin: |
United States |
| Series: |
Eastman Studies in Music |
| Release date: |
April 2021 |
| First published: |
2021 |
| Authors: |
William Weber
(Customer)
|
| Contributors: |
Beverly Wilcox
|
| Dimensions: |
229 x 152 x 24mm (L x W x T) |
| Format: |
Hardcover
|
| Pages: |
328 |
| ISBN-13: |
978-1-64825-016-3 |
| Categories: |
Books
|
| LSN: |
1-64825-016-5 |
| Barcode: |
9781648250163 |
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