Society, Culture and Opera in Florence, 1814-1830
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A01=Aubrey S. Garlington
amateur composers research
Appendix III
Aristocrat
Art
Author_Aubrey S. Garlington
British expatriates Florence
burghersh
carnevale
Carnevale Season
Category=NHWR5
Charity
Children
Church
Cities
City's Musical Life
City’s Musical Life
composer
cultural patronage studies
dilettante
Dilettante Composer
Dramma Giocoso
earthly
Education
Enlightenment influence Italy
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eq_history
eq_isMigrated=1
eq_isMigrated=2
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eq_non-fiction
florentine
Florentine Opera
Galleries
George III
Good Life
Government
Il Crociato
Italian opera history
John Marsh
Law
Leopoldo II
Literature
lord
Lord Burghersh
Meyerbeer's Il Crociato
Meyerbeer’s Il Crociato
Music
nineteenth-century musicology
Non-professional Musicians
paradise
private embassy opera performances
Professional Music World
Public Journalism
Science
season
Teatro Della Pergola
Teatro Nuovo
theaters
Theatre
William Ayrton
Young Man
Youth
Product details
- ISBN 9780815397120
- Weight: 570g
- Dimensions: 156 x 234mm
- Publication Date: 21 Dec 2017
- Publisher: Taylor & Francis Inc
- Publication City/Country: US
- Product Form: Hardback
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Following the defeat of Napoleon in 1814, an event that signalled an end to nearly fourteen years of French domination, Florence seemed to enter a new cultural 'golden age' and by 1824 was described as 'an Earthly Paradise' by the political and liberal writer, Pietro Giordano. Politically, economically and culturally, the city prospered in this new era. After 1814 it seemed as if the Enlightenment had found a new beginning in Florence. Aubrey Garlington, a scholar of long standing in the music of early nineteenth-century Florence, considers the roles played by John Fane, Lord Burghersh, an English aristocrat, diplomat and dilettante composer together with his wife, Priscilla, in the development of the richly homogeneous culture that blossomed in Florence at this time. Burghersh, known today for being instrumental in the founding of the English Royal Academy of Music, composed six operas that were performed privately on numerous occasions at the English Embassy, his best known work being "La Fedra". Lady Burghersh became known for her painting and dilettante theatrical performances. Garlington provides a thorough re-examination of the categories 'professional' and 'dilettante' which were so important in the concept of music at this time. The notions of boundaries between public and private activity are discussed, and the operas themselves are examined specifically. Through the contemplation of the Burghershs's sixteen year stay in Florence, the significance of dilettante orientations are demonstrated to have been essential components for the city's musical and social life. Garlington draws together an impressive compilation of documentation regarding the part music played in shaping society and culture. In this way, the book will appeal not only to opera historians, musicologists and critics working on the nineteenth century, but also to historians and scholars of cultural theory.
Aubrey S. Garlington
