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Gounod was the leading opera composer in France in the mid-nineteenth century, and his best-known operas, including Faust and Romeo and Juliette, date from that time. Despite the overwhelming success of Faust and Gounod's immense influence on all French composers of the later nineteenth century, he has been virtually ignored by scholars until now. Huebner here charts the composer's career and deals with each of the major operas, discussing not only the music but also the critical reception and source material. He considers aspects of the composer's musical style and outlines his influence on subsequent generations of composers.
Erik Satie (1866-1925) was a quirky, innovative and enigmatic composer whose impact has spread far beyond the musical world. As an artist active in several spheres - from cabaret to religion, from calligraphy to poetry and playwriting - and collaborator with some of the leading avant-garde figures of the day, including Cocteau, Picasso, Diaghilev and René Clair, he was one of few genuinely cross-disciplinary composers. His artistic activity, during a tumultuous time in the Parisian art world, situates him in an especially exciting period, and his friendships with Debussy, Stravinsky and others place him at the centre of French musical life. He was a unique figure whose art is immediately recognisable, whatever the medium he employed. Erik Satie: Music, Art and Literature explores many aspects of Satie's creativity to give a full picture of this most multifaceted of composers. The focus is on Satie's philosophy and psychology revealed through his music; Satie's interest in and participation in artistic media other than music, and Satie's collaborations with other artists. This book is therefore essential reading for anyone interested in the French musical and cultural scene of the late nineteenth and early twentieth century.
"Genius Has No Sex" The Sculpture of Marcello (1836-1879) traces the life and sculptural production of Adele d'Affry, the Duchess Castiglione Colonna, best known under the pseudonym Marcello. Although she was born in Switzerland and kept a studio in Fribourg, she spent many years sculpting in France, Italy and Spain, and her works were frequently shown in exhibitions throughout Western Europe. This books presents the history of an artist of great renown and consequence during the second half of the nineteenth century, and it is the first full-scale, academic study of her work in English. --From back cover.
This is the largest selection, in any language, of the writings of Erik Satie. Although he was dismissed as an eccentric by many, Satie has come to be seen as a key influence on modern music. The appeal of his writings, however, go far beyond their musical value. He is revealed as one of the most beguiling of absurdists, in the mode of Lewis Carroll or Edward Lear, but with a strong streak of Dadaism (a movement with which he collaborated).
Opera Acts explores a wealth of new historical material about singers in the late nineteenth century and challenges the idea that this was a period of decline for the opera singer. In detailed case studies of four figures - the late Verdi baritone Victor Maurel; Bizet's first Carmen, Célestine Galli-Marié; Massenet's muse of the 1880s and 1890s, Sibyl Sanderson; and the early Wagner star Jean de Reszke - Karen Henson argues that singers in the late nineteenth century continued to be important, but in ways that were not conventionally 'vocal'. Instead they enjoyed a freedom and creativity based on their ability to express text, act and communicate physically, and exploit the era's media. By these and other means, singers played a crucial role in the creation of opera up to the end of the nineteenth century.
The author recounts his experiences in building collections of rare books and manuscripts of French literature, and reveals little-known facts about French artists, composers, and writers.
The 1889 Exposition universelle in Paris is famous as a turning point in the history of French music, and modern music generally. This book explores the ways in which music was used, exhibited, listened to, and written about during the Exposition universelle. It also reveals the sociopolitical uses of music in France during the 19th century.
This is the first book-length study of the rich operatic repertory written and performed in France during the last two decades of the nineteenth century. Steven Huebner gives an accessible and colorful account of such operatic favorites as Manon and Werther by Massenet, Louise by Charpentier, and lesser-known gems such as Chabrier's Le Roi malgré lui and Chausson's Le Roi Arthus.
"Jann Pasler's remarkable Composing the Citizen reaches well beyond what any book concerned with music in society has ever attempted. Concentrating on France of the Third Republic, from the 1870s through the early 1900s, she demonstrates convincingly how music--whether new, old, popular, or élite, whether performed at institutions of state (such as the Opéra), the Folies Bergère, concert halls, or the zoo--helped to redefine what it meant to be French under evolving political circumstances. Equally adept in the languages of history, sociology, political science, reception history, and music analysis, Pasler establishes music's cultural significance and implicitly illuminates the role it can still play in countries like the United States."--Philip Gossett, The University of Chicago and University of Rome, La Sapienza "Composing the Citizen offers nothing less than a new paradigm for the study of musical cultures. Rather than forcing French music into the moulds developed for the Austro-German canon, Pasler simply studies the social uses of music in fin-de-siècle France. Her painstaking archival research allows her to present an astonishingly detailed account of musical practices, tastes, and activities; new names and genres come to the fore to engage in a variety of dynamic artistic scenes most of us never knew--or only thought we did by virtue of having read Proust. A masterwork of a scholar at the very peak of her career."--Susan McClary, MacArthur Fellow 1995 and author of Georges Bizet: Carmen and Modal Subjectivities: Self-Fashioning in the Italian Madgrigal "Utilité publique: a common-sense republican notion of sweeping consequence. In this greatly anticipated volume Jann Pasler uses it as touchstone, showing how and why musical life so mattered in Third-Republic France: layer after layer of it, in a journey that takes us past the Opéra and Conservatoire to the pops concerts, department stores, the zoo, the world's fairs, the overseas colonies. Companionable as a well-worn Baedeker, seductive as Roger Shattuck's The Banquet Years, this exquisitely styled and paced achievement is also a compelling read."--D. Kern Holoman, author of Berlioz and The Société des Concerts du Conservatoire, 1828-1967