Canonic Repertories and the French Musical Press
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€107.99
A01=William Weber
A32=Beverly Wilcox
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Author_William Weber
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canonic works
Category1=Non-Fiction
Category=AVG
Category=AVL
concert life
COP=United States
Delivery_Delivery within 10-20 working days
eighteenth-century France
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eq_music
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French music
Language_English
Meyerbeer.
models
musical reputation
nineteenth-century France
opera
operatic development
PA=Available
Price_€100 and above
PS=Active
Rossini
softlaunch
Wagner
Product details
- ISBN 9781648250163
- Weight: 406g
- Dimensions: 152 x 229mm
- Publication Date: 01 Apr 2021
- Publisher: Boydell & Brewer Ltd
- Publication City/Country: US
- Product Form: Hardback
- Language: English
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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.
WILLIAM WEBER is professor emeritus of history at California State University, Long Beach.
