DOCSLIB.ORG

«Les Grands Oratorios À L'église Saint-Eustache» and the Parisian

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
«Les Grands Oratorios À L'église Saint-Eustache» and the Parisian «Les Grands oratorios à l’église Saint-Eustache» and the Parisian Press Jennifer Walker (University of North Carolina at Chapel Hill) [email protected] On 15 January 1900, multiple Parisian newspapers announced an upcoming series of oratorio performances that was to take place at the church of Saint- Eustache during the coming months. Generally speaking, announcements such as these are unremarkable in themselves. Yet these announcements were curious, for the headlines prefaced the announcement with the phrase «les grands oratoires comiques»1. The juxtaposition of «comiques» — the association of which with the opéra-comique would not have been lost on readers — with a Parisian parish church intended for private worship was striking, and would come to serve as perhaps the most apt description of the events that would soon unfold — so much so that the critic Henry Mortimer quipped that the series of performances was sure to be successful by virtue of the humor of the situation, writing that «when one has laughter on one’s side, one is very close to success»2. Indeed, Mortimer proved to be correct: the concert series ultimately garnered overwhelmingly positive reviews by critics with varying ideological and aesthetic allegiances. While the preparations for the 1900 Exposition Universelle took up the lion’s share of the Parisian press, Eugène d’Harcourt’s series of oratorio performances nonetheless commanded a surprisingly substantial portion of journalists’ attention, due in no small part to objections raised by figures such 1. L’Estafette 1900: «Les grands oratoires comiques: C’est le jeudi 18 janvier à 8 h. 3/4 du soir qu’au lieu à Saint-Eustache l’audition du Messie de Haëndel. Orchestre est chœurs (300 exécutants) sous la direction de M. Eugène d’Harcourt». 2. MORTIMER 1900: «Le ‘théâtre’ Saint-Eustache est un bon mot, il fera rire. Lorsqu’on a les rieurs de son côté on est bien près du succès». Journal of Music Criticism, Volume 3 (2019), pp. 109-131 © Centro Studi Opera Omnia Luigi Boccherini. All rights reserved. Jennifer Walker as Cardinal François-Marie-Benjamin Richard de la Vergne (hereafter, Cardinal Richard), the Archbishop of Paris, and a senator from Aveyron, Joseph Fabre. They publicly bemoaned the prospect that such performances transformed the church into the «theater of Saint-Eustache» and, therefore, that the Catholic church had finally succumbed to the so-called secularizing influence of the Republic. Critics and commentators quickly responded to their strident dissent, and a controversy ensued that rivaled that of a major political event: to many writers, it was these overblown reactions and counter-reactions to the concerts that justified the likening of Saint-Eustache to an «oratoire comique». Amidst ongoing tensions between the Catholic Church and the French Republic, d’Harcourt’s concert series at Saint-Eustache could easily be read as simply one more sticking point in a long string of conflicts between Catholic traditionalists and «secular» Republicans, a cleavage that has come to dominate scholarship on the subject. Although the Archbishop and Senator Fabre couched their arguments in language that addressed the proper use of sacred space and the matter of ticket sales, more significant questions of ownership underscored these practical concerns. What drove their arguments was the fear that the «secular» Republic might successfully appropriate the Catholic Church as a meaningful and broadly appealing facet of Republican identity. Analyzing the narratives created by the press coverage of d’Harcourt’s concerts reveals that this fear was perhaps not unfounded after all. Contrary to the Catholic objections raised to these performances that claimed that paid concerts in church settings constituted a transformation from sacred sanctuary to secular stage, members of the press frequently configured the performances as religious events in such a way that their appeal to Republican audiences and ideology was not lost. This sense of reconfiguration was supported by the concert programs themselves: the music performed at Saint-Eustache carried with it its own ideological baggage that shaped the ways in which church and government officials, critics, and the general public came to view the Church’s relationship to the Republic. Alongside such perennial favorites as Handel’s Messiah and Bach’s Saint Matthew Passion, the performance and reception of the series’s high-profile premiere of Jules Massenet’s La Terre promise demonstrated how music could simultaneously function as a model of religious devotion through sacred music and also as a symbol of a Republican brand of Catholicism. After an analysis of the critical response to the concerts at Saint-Eustache and a brief study of Massenet’s La Terre promise, I demonstrate in the article how the fluidity of these narratives challenges the long-standing assertion that Republicans and Catholics, in Ralph Gibson’s words, «could not stand each other in the nineteenth century» 110 «Les Grands oratorios à l’église Saint-Eustache» and the Parisian Press by illuminating instead the many crossovers between the church and the Republic at the turn of the twentieth century3. THE THEATER OF SAINT-EUSTACHE? «Les Grands oratorios à l’église Saint-Eustache» opened with Handel’s Messiah on 18 January 1900. Led by d’Harcourt, a choir of over three hundred singers performed to a packed house. Special platforms to accommodate the massive choir and orchestra had been erected, and tickets ranging in price from two to twelve francs sold out well in advance. The series continued with four further concerts, scheduled one per month until April. The second concert, on 15 February, featured a performance of Berlioz’s Requiem alongside two excerpts from Gounod’s Mors et Vita. On 15 March, audiences heard Richard Wagner’s La Cène des Apôtres and the premiere of Massenet’s La Terre promise and, on 12 and 13 April — Holy Thursday and Good Friday — the series closed with a performance of Bach’s St. Matthew Passion, played in two parts between the two days. As Katharine Ellis has suggested, d’Harcourt intended to perform a similar concert series as part of the 1900 Exposition Universelle4. He submitted a proposal to present Handel’s Messiah, Bach’s St. Matthew Passion, and other, more modern French oratorios to Alfred Picard, the Exposition’s Commissioner General, in 1899 — an idea which was, in the mind of the critic Arthur Dandelot, «praiseworthy», since it would provide a space for «exclusively religious concerts»5. In a letter to the Minister of Public Instruction and Fine Arts, who initially showed some interest, d’Harcourt asked for official support for his concerts and offered additional assistance with other events should his proposition be rejected which, in the end, it was6. 3. GIBSON 1991. 4. ELLIS 2008, p. xvi. 5. DANDELOT 1900: «La louable conception de M. d’Harcourt, d’organiser, en vue de l’Exposition, des séances exclusivement consacrées à l’art musical religieux, m’a fait ressouvenir des théories de l’auteur de Fervaal et, n’ayant pas répondu sur le moment aux opinions émises par M. d’Indy, je le fais maintenant durant l’accalmie des heures de villégiature». 6. D’HARCOURT 1899: «J’ai l’honneur, suivant votre désir, de vous envoyer ci joint la copie du projet d’auditions musicales que j’ai adressé, il y a plus de trois mois, à Monsieur le Directeur de l’Exposition Universelle. Comme vous avez paru vous intéresser à mes idées et à mes plans, que vous m’avez fait l’honneur de conserver, j’espère que vous voudrez bien les appuyer, à 111 Jennifer Walker Parish council minutes from Saint-Eustache indicate that d’Harcourt’s request to use the church coincided with his plans for the Exposition. At some point prior to July 1899, d’Harcourt approached the church with his request, and soon thereafter, it was accepted by the parish priest, Father Gaultier de Claubry7. Between June and November 1899, the dates of the concerts were fixed, 12 and 13 April included, regardless of some resistance to Father Claubry’s suggestion that all Holy Thursday services be cancelled in order to accommodate d’Harcourt’s concert series8. Father Claubry’s unquestioning acceptance of d’Harcourt’s proposal engendered an embittered response from both church and government officials, a reaction that rivaled that of a major political event. On 10 January, Cardinal Richard, the Archbishop of Paris, wrote a letter to Claubry outlining his concerns; three days later, on 13 January, the letter was published in the Catholic weekly, Semaine religieuse: I regret that you have not communicated the program of concerts announced in your church in advance. The first three are to take place at 8:45 in the evening. At this time, the holy sacrament has been removed from the tabernacle. I can consent to a concert composed of serious pieces, provided, however, that the meeting has the serious character appropriate in a church, even though this meeting is not accompanied by a liturgical office. It is only as an exception that I permit the concerts announced in the programs. I could not approve a church to habitually become a great religious concert hall. I know that the distinguished men who prepared the musical ceremonies of Saint-Eustache were animated by Christian moins que vous ne préfériez en faire votre chose, auquel cas, je mets à votre disposition ma collaboration pour l’intérêt artistique général. Veuillez agréer, Monsieur le Ministre, l’expression de mon profond respect». 7. CONSEIL DE FABRIQUE 1899: «Le conseil, dans le circonstance, estime que la question étant engagée il n’a pas à prendre de délibération, toutefois il tient à consigner qu’il admet en principe ces auditions le programme devant en être arrêté d’accord avec Mgr.
Load more

Recommended publications
  • 4 Mars La Messe Pour Deux Chœurs Et Deux Orgues De Louis Vierne, Avec Le Chœur Massenet, Dir. Lucie Roy Et Jonathan Oldengarm Et Vincent Boucher, Orgue
    4 mars La Messe pour deux chœurs et deux orgues de Louis Vierne, avec le chœur Massenet, dir. Lucie Roy et Jonathan Oldengarm et Vincent Boucher, orgue 11 mars La Messe brève et œuvres pour orgue de Fernand de La Tombelle, avec le chœur Modulation, dir. Lucie Roy et Jonathan Oldengarm et Raphaël Ashby, orgue 18 mars Autour du choral luthérien avec Réjean Poirier, orgue 25 mars Les Leçons de Ténèbre de François Couperin avec Geoffroy Salvas, baryton et Christophe Gauthier, orgue 1 avril Bach et la Résurrection avec Réal Gauthier, orgue 8 avril Œuvres sacrées pour chœur avec le Chœur du Plateau dir. Roseline Blain et Vincent Boucher, orgue 15 avril Daniel Roth, organiste de l’église Saint-Sulpice à Paris 22 avril Œuvres sacrées pour chœur et orgue avec le Chœur Classique de Montréal, dir. Louis Lavigueur et Mireille Lagacé, orgue 29 avril Éclats de mémoire, événement littéraire et musical avec Jean Marchand, narration et Hampus Lindwall (Suède) orgue Les dimanches à 15:30 dans la basilique de l’Oratoire Saint-Joseph Entrée libre – contribution à discrétion – Projection sur grand écran SÉRIE DES CONCERTS DU DIMANCHE 2018 50 concerts gratuits mettant en vedette 42 organistes provenant de 8 pays et accompagnés de plus de 800 choristes et instrumentistes. La Folia 6 mai au 1 juillet Les concerts d’été 15 juillet au 23 septembre Festival d’orgue de Montréal 30 septembre au 28 octobre Direction artistique : Vincent Boucher, organiste titulaire concertsdudimanche.org Eugénie Préfontaine détient un baccalauréat en chant classique et baroque à l’Université de Montréal. Au cours des dernières années, elle a tenu plusieurs rôles « TABLEAUX BIBLIQUES » dans différentes productions au sein de la compagnie Belle Lurette à Laval, dont Wanda dans l’opérette La Grande-Duchesse de Gérolstein de J.Offenbach en 2016.
    [Show full text]
  • MASSENET and HIS OPERAS Producing at the Average Rate of One Every Two Years
    M A S S E N E T AN D HIS O PE RAS l /O BY HENRY FIN T. CK AU THO R O F ” ” Gr ie and His Al y sia W a ner and H W g , g is or ks , ” S uccess in Music and it W How is on , E ta , E tc. NEW YO RK : JO HN LANE CO MPANY MCMX LO NDO N : O HN L NE THE BO DLEY HE D J A , A K N .Y . O MP NY N E W Y O R , , P U B L I S HE R S P R I NTI N G C A , AR LEE IB R H O LD 8 . L RA Y BRIGHAM YO UNG UNlVERS lTW AH PRO VO . UT TO MY W I FE CO NTENTS I MASSENET IN AMER . ICA. H . B O GRAP KET H II I IC S C . P arents and Chi dhoo . At the Conservatoire l d . Ha D a n R m M rri ppy ys 1 o e . a age and Return to r H P a is . C oncert a Successes . In ar Time ll W . A n D - Se sational Sacred rama. M ore Semi religious m W or s . P ro e or and Me r of n i u k f ss be I st t te . P E R NAL R D III SO T AITS AN O P INIO NS . A P en P ic ure er en ne t by Servi es . S sitive ss to Griti m h cis .
    [Show full text]
  • COMPOSITIONAL STYLE in the SONG CYCLES of JULES MASSENET by HEATHER J. HOLMQUEST a THESIS Presented to the School of Music and D
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank COMPOSITIONAL STYLE IN THE SONG CYCLES OF JULES MASSENET by HEATHER J. HOLMQUEST A THESIS Presented to the School ofMusic and Dance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofArts September 2009 "Compositional Style in the Song Cycles ofJules Massenet," a thesis prepared by Heather J. Holmquest in partial fulfillment ofthe requirements for the Master ofArts degree in the School ofMusic and Dance. This thesis has been approved and accepted by: Dr. Stephen ROdgers, Chair ofthe Examination Committee I Date Committee in charge: Dr. Stephen Rodgers, chair Dr. Jack Boss Prof. Laura Wayte Accepted by: Dean ofthe Graduate School © 2009 Heather 1. Holmquest An Abstract ofthe Thesis of Heather J. Holmquest for the degree of Master ofArts in the School ofMusic and Dance to be taken September 2009 Title: COMPOSITIONAL STYLE IN THE SONG CYCLES OF JULES MASSENET Approved: Df. Stephen Rodgers As a prolific song composer whose works span the development ofthe French song cycle, Massenet is worthy ofclose examination. To date, analyses ofhis songs have included a cursory glance by Frits Noske and a review ofthematic relationships by Mario Champagne. These analyses leave many ofMassenet's compositions untouched and exclude many musical features ofmerit. This thesis offers a thorough evaluation ofMassenet's songs with the aim of tracing the development ofhis style as an outgrowth ofGerman influence. I focus on three works from the beginning, middle, and end ofMassenet's career--Poeme d'avril, Poeme d'amour, and Expressions lyriques--that show the pmgression ofMassenet's style and establish his place as a bridge between the great lieder composers ofthe early nineteenth century and the great melodie composers ofthe early twentieth century.
    [Show full text]
  • Memorial Library of Music Collection
    http://oac.cdlib.org/findaid/ark:/13030/kt6r29p0pm No online items Partial Guide to the Memorial Library of Music Collection Special Collections staff Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc/ © 2006 The Board of Trustees of Stanford University. All rights reserved. Partial Guide to the Memorial MLM 1 Library of Music Collection Partial Guide to the Memorial Library of Music Collection Collection number: MLM Department of Special Collections and University Archives Stanford University Libraries Stanford, California Processed by: Special Collections staff Date Completed: 2003 Encoded by: Bill O'Hanlon © 2006 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Memorial Library of Music collection Collection number: MLM Collector: Keating, George T. Collection Size: ca. 27 linear ft. Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Abstract: This library is a collection of musical manuscripts and of printed and engraved scores inscribed by great composers, and constitutes a unique addition to Stanford's educational and cultural resources. Languages: Languages represented in the collection: English Access Collection is open for research; materials must be requested at least 24 hours in advance of intended use. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Preferred Citation Memorial Library of Music Collection, MLM. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.
    [Show full text]
  • Programmheft Manon Web.Indd
    Man Jules Massenet on Jules Massenet Manon Oper in fünf Akten (1884) Text von Henri Meilhac und Philippe Gille 4 5 verlässt auch Des Grieux die Wohnung, um den Brief aufzugeben. Allein zurückbleibend, Handlung erinnert sich Manon an die schönen Stunden mit Des Grieux, die sie hier erlebt hat. Des Grieux findet seine Geliebte mit schweren Gedanken beladen. Er malt ihr eine para- 1. Akt diesische Traumwelt aus, in der sie zusammen vollkommenes Glück finden. Neuerlich Ein Gasthaus in der Provinz. Es gibt weder zu essen noch zu trinken. Guillot, de Brétigny kündigt sich ein Gast an. Des Grieux will nach ihm schauen, wird aber von Manon abge- und die drei jungen Damen Poussette, Javotte und Rosette rufen den Wirt – erst nach halten. Als er dennoch vor die Tür geht, wird er fortgerissen. Manon beklagt ihre Trennung mehrfacher Aufforderung tischt er etwas auf. Alles wartet gespannt auf die Ankunft von von Des Grieux. Reisenden. Auch Lescaut ist hierhergekommen, um seine ihm bislang noch unbekannte Cousine Manon abzuholen und ins Kloster zu geleiten. Als diese erscheint, ein Mädchen von fünfzehn Jahren, ist er geblendet von deren Schönheit und Charme. Manon erzählt aufge- 3. Akt, 1. Bild regt von ihrer Reise, der ersten, die sie unternommen hat. Lescaut geht mit zwei Kameraden In einem glanzvollen, von strahlenden Lichtern erhellten Saal. Verkäuferinnen und Ver- zum Kartenspiel. Während Manon allein ist, nähert sich ihr der reiche Guillot mit einem ein- käufer preisen ihre Waren an, Lescaut und die drei Damen Poussette, Javotte und Rosette deutigen Angebot: Er bietet ihr seinen Wagen an, um zusammen fortzufahren.
    [Show full text]
  • Jules Massenet
    JULES MASSENET Jules-Émile-Frédéric Massenet est un compositeur français né le 12 mai 1842 à Montaud,un quartier de Saint-Étienne, et décédé le 13 août 1912 à Paris. C’est le fils d'Alexis Massenet, un fabricant des lames de faux à Pont-Salomon qui a douze enfants, Il habite Paris à 6 ans en 1848 : sa mère lui apprend déjà le piano. Il entre au Conservatoire de Paris à 11 ans. Il obtient un premier prix de piano en 1859. Il remporte le grand prix de Rome en 1863 et est admis à la villa Médicis. Il devient ami avec Franz Liszt qui lui laisse quelques cours de piano. Il épouse en 1866 une de ses élèves : Louise-Constance dite « Ninon » de Gressy. Ils auront une fille Juliette en 1868. De retour à Paris en 1866, il subvient à ses besoins en donnant des cours de piano et commence à publier des pièces de piano. Il rencontre Georges Hartmann qui devient son éditeur et son mentor. En 1867, il crée sa première œuvre lyrique, La Grand’ Tante. Il gagne rapidement en notoriété, et fait partie des jeunes compositeurs remarqués de Paris. Ses compositions sont publiées. Il participe à la guerre de 1870 puis Il s'engage dans la Garde Nationale pendant la Commune de Paris. Il participe à la fondation de la Société Nationale de Musique, gagne rapidement en notoriété, et fait partie des jeunes compositeurs remarqués de Paris. Ses compositions sont publiées. En 1872 son opéra-comique Don César de Bazan, tient l'affiche à Paris pendant 13 représentations.
    [Show full text]
  • Julio Massenet
    A NNO XIV L isboa, 31 de Agosto de I912 NUMERO 329 REVISTA PUBLICA!:A QUINZENALME NTE J>roprietario, llircdor o erlitor j\1.ICHEL' ANGELO J--Af'lB"'.RTINt Reaa c~ão e aomin, Pr a ~ a aos Reslaura0o res1 43a 49. I C om ~. e im ~r essão T ~~· P in ~ eiro, R. JaroimOo Rege0or1 39e 41 SUMMAIUO: - Jul<'S J\ l 11~ ~ e uct. - l\Ionogr:1phil11; in;;trnmcnln<»; . - A>i .l!'ula~õ r~ ti o S. ~'•·<'i Gil. - Notidal'io. ticlões. Exprobou-se-lhc 11 0 cmtanto a dema­ Julio Massenet siada fccu11cliclacle d'essa arte amavel, mas nem sempre profunda e sã ; exprobou-se-lhe o ex­ cessivo romantismo e o abuso da nota delicada Eis um dos artistas mais suggestivos, um dos e futil ; exprobou-se-lhe a rhetorica palavrosa, compositores mais queridos de todos os publi­ ôca ás vezes; exp,robou-se-lhe principalmente cos, este que a morte acaba de arrebatar ao a concessão quasi constante ao gosto vulgar, o mundo musica l de- desejo infinito de pois de 70 annos agradar a um pu­ de uma vida exce­ blico estheticamen­ pcionalmente pro­ te pouco exigente. ductiva e laboriosa. Talvez tenha ra­ Realisando a sua zão de ser a cen­ propria concepção sura em muitas das da m o r te - u 111 produções do fa adeus, em que ha 111 oso musico fran ­ tanto de doçura cez; mas algumas como de angustia d'ellas, como a M a­ -o auctor da Ma­ non e o Wer,ther, non e do WerLhrr o drama religioso extinguia-se sere­ Marie Madeleine, namente, sem so f­ que Massenet pla­ fri m en to, quasi neou e começou com o sorriso nos quando ainda pen­ labios, emquanto a sionista em Roma, frança artistica se esse .fom;leur de cobria de crepes Notre Dame, opera por um dos seus sem mulheres, que musicos mais dile­ ta 1vez por isso ctos e mais popu- mesmo o nosso pu­ 1ares.
    [Show full text]
  • Jules Massenet
    Jules Massenet Montaud (Saint-Étienne) 12 mai 1842 — Paris 13 août 1912. Son grand-père est professeur à Strasbourg. Son père, Jules Émile Frédéric, officier dans les armées du premier empire, est directeur d'une entreprise de matériel agricole de 1814 à 1848. Sa mère Eléonore-Adelaïde Royer de Marancour (1809-1875), est une bonne pianiste qui a composé quelques pièces. Elle donne des leçons de piano. Il reçoit à partir de 1851 ses premières leçons de piano de sa mère. Recalé une première fois en 1851, il est admis au Conservatoire de Paris le 10 janvier 1853. Il y suit les cours de Savard pour le chant et d’A.Laurents pour le piano. Ses parents déménagent à Chambéry en 1854. Il tente de gagner Paris, mais est rapidement ramené à ses parents. Accueilli à Paris par sa sœur Julie, il peut reprendre les cours du Conservatoire l'année suivante. Il obtient un premier Prix de piano en 1859, mais ne s'entend pas avec Bazin, son professeur de composition. Il est impressionné par l'audition de L'Enfance du Christ de Berlioz en 1855 et suit les concerts des œuvres de Berlioz et de Wagner au Cirque Napoléon (inauguré par Napoléon III en 1852, devenu depuis Cirque d'Hiver), les concerts que Wagner donne en personne en 1860 lors de son séjour parisien. Il étudie l'harmonie avec Reber. Il donne quelques concerts. En 1861 il entre dans la classe de composition d'Ambroise Thomas de celle d'orgue de Benoist. La même année, il publie chez Brandus et Dufour une Grande Fantaisie de concert sur le Pardon de Ploërmel, sur un thème de Giacomo Meyerbeer.
    [Show full text]
  • Compositional Style in the Song Cycles of Jules Massenet
    COMPOSITIONAL STYLE IN THE SONG CYCLES OF JULES MASSENET by HEATHER J. HOLMQUEST A THESIS Presented to the School ofMusic and Dance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofArts September 2009 "Compositional Style in the Song Cycles ofJules Massenet," a thesis prepared by Heather J. Holmquest in partial fulfillment ofthe requirements for the Master ofArts degree in the School ofMusic and Dance. This thesis has been approved and accepted by: Dr. Stephen ROdgers, Chair ofthe Examination Committee I Date Committee in charge: Dr. Stephen Rodgers, chair Dr. Jack Boss Prof. Laura Wayte Accepted by: Dean ofthe Graduate School © 2009 Heather 1. Holmquest An Abstract ofthe Thesis of Heather J. Holmquest for the degree of Master ofArts in the School ofMusic and Dance to be taken September 2009 Title: COMPOSITIONAL STYLE IN THE SONG CYCLES OF JULES MASSENET Approved: Df. Stephen Rodgers As a prolific song composer whose works span the development ofthe French song cycle, Massenet is worthy ofclose examination. To date, analyses ofhis songs have included a cursory glance by Frits Noske and a review ofthematic relationships by Mario Champagne. These analyses leave many ofMassenet's compositions untouched and exclude many musical features ofmerit. This thesis offers a thorough evaluation ofMassenet's songs with the aim of tracing the development ofhis style as an outgrowth ofGerman influence. I focus on three works from the beginning, middle, and end ofMassenet's career--Poeme d'avril, Poeme d'amour, and Expressions lyriques--that show the pmgression ofMassenet's style and establish his place as a bridge between the great lieder composers ofthe early nineteenth century and the great melodie composers ofthe early twentieth century.
    [Show full text]
  • REFERENCE USE ONLY D OQD1 45L400 I43 Fi THE
    This Volume is for REFERENCE USE ONLY D OQD1 45L400 I43 fi THE OF % ^ ^ THE UNITE$p'gTATES. VOLUME VIII. Season of 1890-1891. .^ BY n H. WILSON, BOSTON. PRICE, ONE BY Street, Boston, Mass, Back numbers are for sale. *Wrt volumes, bound in boards, $6,00. i BY CHA^ttB^ HAMILTON, (ijable of (gon tents. PREFACE ; . Pa#e 3 * ** TABLE OP CONTENTS . 4 " CITIES . 5-9S GENEKAL RECORD BY .] MISCELLANEOUS RECORD " 98-101 " MUSIC TEACHERS' NATIONAL ASSOCIATION . 102 NEW " AMERICAN COMPOSITIONS ., 103 " AMERICAN MUSIC PREFORMED ABROA D . 104 PUBLISHED AMERICAN WORKS - 105 ^ STANDARD CHORAL WORKS PK UFO RME.D SOLOISTS " 100-107 IMPORTANT NEW WORKS ...... u 108 RETROSPECT " 109-1U j " A DIRECTORY OF SINGERS, PLAYERS <fe JTR ACH 1C Its H5-11S ADDENDA i. "119 " INDEX OF TITLES '. 123-140 INDEX OF ADVERTISERS :~ ARTHUK P. SCHMIDT, PUBLISHER . , . 2d Page<iw^r " CINCINNATI COLLEGE OF Music . * . .3d u MASON & HAMHN PIANOS AND ORGANS . - . 4th KNABE PIANOS I*a#e 120 F. A. OLIVER, VIOLINS 121 CH. C. PARKYN, MUSICAL AGENT .... "121 NEW ENGLAND CONSERVATORY .... fck 122 &. SCHIRMKR, PUBLISHER , "HI BOSTON SYMPHONY ORCHESTRA .... tk 142 M. STEINKHT & SONS PIANO COMPANY . "1^3 NATIONAL CONSERVATORY ...... ** 144-143 u H. B. STRVKNS fc Co., PUBLISHWKS 146 kk HENRY F. MILLER & SONS PIANO COMPANY . 147 " OLIVER DITSON COMPANY, PUBLISHERS . 14S CHICKBHING & SONS PIANOS ' HO CHICKERING HALLS 4< 150 " Bos i ON FESTIVAL ORCHKSTRA 151 NOVKLLO, EWJfiR *fe Co., PUH ALBANY, N. Y. SCHUBERT CLUB. Sixth Season. Male Chorus of 44. Bleecker Hall Conductor, AKTHUR MEISS. Dec. 4. "Gipsy Life," Schumann; "Love and Wine," Men- delssohn; Vesper Hymn, Beethoven; "By the Sea," Schubert; "Night in the Forest," Speidel; "When two fond Hearts must " "Battle from sever,*' Schwalm ; Marguerita," Jensen; Hymn" "Bienzi," Wagner Soloist, Mine.
    [Show full text]
  • Composing Symbolism's Musicality of Language in Fin-De-Siècle France
    COMPOSING SYMBOLISM’S MUSICALITY OF LANGUAGE IN FIN-DE-SIÈCLE FRANCE Megan Elizabeth Varvir Coe, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2016 APPROVED: Peter Mondelli, Major Professor Hendrik Schulze, Committee Member Steven Friedson, Committee Member Frank Heidlberger, Chair of the Division of Music History, Theory, and Ethnomusicology Benjamin Brand, Director of Graduate Studies, College of Music John Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Varvir Coe, Megan Elizabeth. Composing Symbolism’s Musicality of Language in fin- de-siècle France. Doctor of Philosophy (Musicology), August 2016, 364 pp., 9 tables, 15 figures, 31 musical examples, bibliography, 520 titles. In this dissertation, I explore the musical prosody of the literary symbolists and the influence of this prosody on fin-de-siècle French music. Contrary to previous categorizations of music as symbolist based on a characteristic “sound,” I argue that symbolist aesthetics demonstrably influenced musical construction and reception. My scholarship reveals that symbolist musical works across genres share an approach to composition rooted in the symbolist concept of musicality of language, a concept that shapes this music on sonic, structural, and conceptual levels. I investigate the musical responses of four different composers to a single symbolist text, Oscar Wilde’s one-act play Salomé, written in French in 1891, as case studies in order to elucidate how a symbolist musicality of language informed their creation, performance, and critical reception. The musical works evaluated as case studies are Antoine Mariotte’s Salomé, Richard Strauss’s Salomé, Aleksandr Glazunov’s Introduction et La Danse de Salomée, and Florent Schmitt’s La Tragédie de Salomé.
    [Show full text]
  • Republican Reconfigurations of Catholicism in the Music of Third Republic Paris, 1880–1905
    SOUNDING THE RALLIEMENT: REPUBLICAN RECONFIGURATIONS OF CATHOLICISM IN THE MUSIC OF THIRD REPUBLIC PARIS, 1880–1905 JENNIFER WALKER A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2019 Approved by: Annegret Fauser Andrea Bohlman Mark Evan Bonds Tim Carter Clair Rowden ©2019 Jennifer Walker ALL RIGHTS RESERVED ii ABSTRACT Jennifer Walker: Sounding the Ralliement: Republican Reconfigurations of Catholicism in the Music of Third Republic Paris, 1880–1905 (Under the direction of Annegret Fauser) Military defeat, political and civil turmoil, and a growing unrest between Catholic traditionalists and increasingly secular Republicans formed the basis of a deep-seated identity crisis in Third Republic France. Beginning in the early 1880s, Republican politicians introduced increasingly secularizing legislature to the parliamentary floor that included, but was not limited to, the secularization of the French educational system. As the divide between Church and State widened on the political stage, more and more composers began writing religious—even liturgical—music for performance in decidedly secular venues, including popular cabaret theaters, prestigious opera houses, and international exhibitions: a trend that coincided with Pope Leo XIII’s Ralliement politics that encouraged conservative Catholics to “rally” with the Republican government. But the idea of a musical Ralliement has largely gone unquestioned by historians and musicologists alike. Thus my study of this music provokes a fundamental reconsideration of music’s role in the relationship between the French state and the Catholic Church in the Third Republic and, in doing so, dismantles the somewhat simplistic epistemological position that emphasizes a sharp division between the Church and the “secular” Republic during this period.
    [Show full text]