Who Is Armand SILVESTRE? : a Study of the Music and Poem Through the List of Composers and Their Works

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<Research Notes>Who is Armand SILVESTRE? : A Study of the music and poem through the list of composers and their works 著者 Kimpara Reiko journal or 言語文化論集 publication title number 56 page range 167-184 year 2001-03-28 URL http://hdl.handle.

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Ernest Guiraud: a Biography and Catalogue of Works
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Ernest Guiraud: A Biography and Catalogue of Works. Daniel O. Weilbaecher Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Weilbaecher, Daniel O., "Ernest Guiraud: A Biography and Catalogue of Works." (1990). LSU Historical Dissertations and Theses. 4959. https://digitalcommons.lsu.edu/gradschool_disstheses/4959 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
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Catalogue 16.04.12
CCAATTAALLOOGGUUEE élaboré par Hervé OLEON, artiste lyrique commissaire d’exposition Avril 2012 1 ’année 2012 est pour moi, inconditionnel de Jules MASSENET, l’occasion de partager cette passion LLpour « l’homme, le musicien » (en paraphrasant le titre de la biographie de Louis SCHNEIDER), et bien sûr son œuvre. Mais sous quel angle aborder ce qui fut une vie de labeur, par conséquent bien remplie, sans risquer de tomber dans une chronologie trop synthétique pour rendre hommage et justice à celui qui était et demeure l’un de nos plus grands compositeurs, même si la France musicale contemporaine a tendance à l’oublier… J’ai donc choisi de centrer cette exposition sur une œuvre de Jules MASSENET à laquelle je suis particulièrement sensible, le drame sacrée Marie-Magdeleine . Une œuvre méconnue, et pourtant c’est bien elle qui fit entrer son compositeur chez les « Grands » de la Musique. En outre, Marie-Magdeleine est avant tout l’histoire d’une rencontre, d’une « croisée des chemins », celle du jeune Jules MASSENET et de la cantatrice Pauline VIARDOT, au crépuscule de sa carrière et pour laquelle le rôle de Méryem sera celui d’une ultime apparition scénique dans une œuvre intégrale en France. En somme Marie-Madgeleine est un départ pour l’un, une sorte de chant du cygne pour l’autre. Comment ne pas transposer à cet épisode la phrase du Baptiste « il faut qu’il grandisse et moi, que je diminue »… Nous vous proposons donc de cheminer ensemble au fil de cette exposition, au gré d’un voyage musical et biographique en quatre temps : un premier
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1873–1875: Carmen • 211
l CHAPTER NINE ; 1873 1875 – : Carmen hile Bizet was writing wind pieces and orchestrating all 1200 pages Wof Carmen, Geneviève was with him in Bougival during the summer of 1874; at least that seems to have been the arrangement they came to, however pre- carious. There is strong evidence to suggest that Geneviève was more than usually friendly with one of her husband’s friends, Élie-Miriam Delaborde, a virtuoso pia- nist whose talent he inherited from his father, the equally remarkable Alkan, and who spent the summer nearby in Bougival. Bizet was aware of her warm feelings for Delaborde, which she did not hide.1 The manner in which members of the Halévy family destroyed or concealed crucial evidence suggests that something was amiss. The appearance, however, is of a threesome who got on well enough. Delaborde, like Bizet, enjoyed swimming. He was a vigorous athlete, an advocate of the pedal-piano, an experienced traveller, and the possessor of innumerable apes and parrots as pets—congenial and interesting company, in other words. The most significant pointer to Geneviève’s interest in Delaborde is the marriage contract they both signed in August 1876, scarcely a year after Bizet’s death.2 The marriage did not take place; both parties eventually married other spouses. But this is a mat- ter in which gossip passed down through the years seems for once to have been right. Geneviève nevertheless told Gounod later that there was not a moment of her six years with Bizet she would not want to live again.3 We have at the same time to contend with the parallel gossip that linked Bizet to Galli-Marié.
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