REVUE DE MUSICOLOGIE最新文献_第2页

En province, à Versailles et au Concert spirituel : Réception, diffusion et exécution des motets de Lalande au XVIIIe siècle 在各省，在凡尔赛和精神音乐会:接受，传播和执行18世纪拉兰德的格言

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2006-01-01 DOI: 10.2307/20141638

Lionel Sawkins, J. Waeber

{"title":"En province, à Versailles et au Concert spirituel : Réception, diffusion et exécution des motets de Lalande au XVIIIe siècle","authors":"Lionel Sawkins, J. Waeber","doi":"10.2307/20141638","DOIUrl":"https://doi.org/10.2307/20141638","url":null,"abstract":"A comparison of sources extant in French provincial libraries and in Paris and Versailles brings much to the history of Lalande's grands motets, the most often performed sacred works of 18th-century France. These comparisons also considerably enhance the authority of the 'Cauvin' manuscripts, the only contemporary full-score copy available for most of Lalande's late grands motets. More than a decade before the Concert spirituel started its activities in Paris, Concert societies in Lyon performed Lalande's motets in earlier versions than those eventually published in Paris. The cathedral archives of Aix-en-Provence retain some works in older versions than those found in Paris and Versailles. Other manuscripts in Avignon and Apt refine our knowledge of the composer's œuvre and of the chronology of its composition and revision. The extraordinary longevity of Lalande's motets in the repertory of the Paris Concert spirituel (at least 590 performances until 1770) is also reflected in provincial centres such as Lille, where these works were still being frequently performed in the middle of the century. Both the engraved edition of 1729-1734 and manuscript sources widely circulated in the 1760s at least, and the royal chapel performed Lalande's motets until its last days in 1792. Finally, a renewed study of the Etats de la France for the period when Lalande was Sous-maitre de la Chapelle brings to light further information on musicians under his direction.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"92 1","pages":"13-40"},"PeriodicalIF":0.3,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141638","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Il canto fratto nei manoscritti della Fondazione Biblioteca S. Bernardino di Trento 摘自特伦托圣贝纳迪诺图书馆基金会手稿

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2006-01-01 DOI: 10.2307/20141679

Séverine Guermouche, Giulia Gabrielli

引用次数: 1

L'école de musique de Toulouse : Les enjeux d'une « nationalisation » (1820-1848) 图卢兹音乐学院:“国有化”的挑战(1820-1848)

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2006-01-01 DOI: 10.2307/20141643

Emmanuel Hondré

引用次数: 0

Franz Schuberts ≫Lazarus≪ und das Wiener Oratorium zu Beginn des 19. Jahrhunderts 弗朗茨·舒伯特≫拉撒路≪和维也纳19 .初Oratorium世纪

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2006-01-01 DOI: 10.2307/20141655

D. Ehrhardt, Christine Blanken, Andrea Lindmayr-Brandl

引用次数: 0

Une clémence inattendue : La thématique du pardon dans die Entführung aus dem Serail de Stephanie et Mozart 意想不到的仁慈:斯蒂芬妮和莫扎特的《Serail》中的宽恕主题

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2006-01-01 DOI: 10.2307/20141673

Marie-Hélène Benoit-Otis

{"title":"Une clémence inattendue : La thématique du pardon dans die Entführung aus dem Serail de Stephanie et Mozart","authors":"Marie-Hélène Benoit-Otis","doi":"10.2307/20141673","DOIUrl":"https://doi.org/10.2307/20141673","url":null,"abstract":"This paper brings to light the essential role played by the theme of forgiveness in Mozart's Die Entfuhrung aus dem Serail (Singspiel created in Vienna in 1782). Several authors have already noted the recurrence of this theme in Mozart's operas, but nobody has yet done a systematical study of it. The one proposed here combines literary and musical analysis, confronting the presentation of the theme of forgiveness in the libretto and general structure of Die Entfuhrung aus dem Serail to the two contemporary operas on which it was modelled, Bretzner's Belmont und Constance oder Die Entfuhrung aus dem Serail (Berlin 1781) and Gluck's La Rencontre imprevue ou Les Pelerins de La Mecque (Vienna 1764). It emerges from this study that Mozart's Singspiel is the only one attaching to forgiveness a central dramatic role. This is confirmed by a musical analysis of excerpts from Die Entfuhrung aus dem Serail, that shows how Mozart musically underlines the passages in which forgiveness plays an important role. Reflecting on the conventions of seria and buffa opera, the conclusion is a first attempt to trace the sources of the peculiar development of this theme in Mozart's Oeuvre.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"92 1","pages":"309-342"},"PeriodicalIF":0.3,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141673","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Alfred Bruneau et Nantes (1891-1915) 阿尔弗雷德·布鲁诺和南特(1891-1915)

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2006-01-01 DOI: 10.2307/20141645

Jean-Christophe Branger

引用次数: 0

Compendiolum Musicae pro incipientibus 初学者音乐简编

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2006-01-01 DOI: 10.2307/20141650

C. Meyer, Heinrich Faber, d'Olivier Trachier

引用次数: 1

Du Wunderkind à l'éternel enfant : Les premières biographies mozartiennes dans le contexte de l'esthétique romantique 从神童到永恒的孩子:浪漫美学背景下的第一部莫扎特传记

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2006-01-01 DOI: 10.2307/20141674

G. Starobinski

{"title":"Du Wunderkind à l'éternel enfant : Les premières biographies mozartiennes dans le contexte de l'esthétique romantique","authors":"G. Starobinski","doi":"10.2307/20141674","DOIUrl":"https://doi.org/10.2307/20141674","url":null,"abstract":"Mozart ist the only composer whose childhood has counted for the posterity. This durability is due both to the precocity of his genius and to the epoch of its development. In the history of mentalities and of musical style, the 1760's were an ideal soil for the precocious exploits of the composer. If we believe his first biographers, Mozart remained a child all his life long as far as practical needs of existence were concerned. First negatively connoted, this image of the eternal child was later interpreted as a sign of genius by Schopenhauer in The world as will and representation (1818). This reversal of value can be explained by taking into consideration some texts by Tieck, Wackenroder and E.T.A. Hoffmann in which appears the idea of the genius of childhood, sometimes in close association to Mozart. How far has this image of Mozart influenced the reception of his style ? The popular elements of the Singspiel and the opera buffa have been very early associated with the world of infancy, particularly in The magic flute but also in Cosi fan tutte, as can be read in an anonymous rewiew of 1805. However, these stylistic features are never dominant with Mozart, where they are temperated by melancholy. Mozart has relegated his puns (sometimes bearing traits of scatology) to his letters to his cousin Anna Maria Thekia, called the « Basle ». On the other hand, humour and popular tone occupy a central place in the instrumental music of the dignified « Papa Haydn », perceived very early as « the expression of a serene and childlike personality ».","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"92 1","pages":"343-356"},"PeriodicalIF":0.3,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141674","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

Le gratie d'amore 爱的恩典

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2006-01-01 DOI: 10.2307/20141680

Cesare b. Negri, Brigitte Garski

引用次数: 5

En musique dans le texte. Le mélodrame, de Rousseau à Schoenberg 在文本中的音乐。情节剧，从卢梭到勋伯格

IF 0.3 1区艺术学

REVUE DE MUSICOLOGIE Pub Date : 2006-01-01 DOI: 10.2307/20141686

T. Picard, J. Waeber

引用次数: 10