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From Servant to Savant
Introduction -- Part I. Musical Privilege. Legal Privilège and Musical Production ; Social Privilège and Musician-Masons -- Part II. Property. Private Property : Music and Authorship ; Public Servants ; Cultural Heritage : Music as Work of Art ; National Industry : Music as a "Useful" Art and Science -- Postlude : A "Detractor" Breaks his "Silence" -- Conclusion : Privilege by Any Other Name.
Canonic Repertories and the French Musical Press
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...
Opera in the Age of Rousseau
A wide-ranging account of opera on stage and in society in the age of Rousseau, from Rameau to Gluck.
The Oxford Handbook of the Operatic Canon
Opera has always been controversial, not only because of how vastly expensive it is to produce. It has historically been a vital and complex mixture of high art and commerce, socially elite and popular or middle-class, the new and the increasingly old. When a city wants a new landmark building, an opera house is very often the solution: why should this still be the case? The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by looking at how it evolved from a market entirely driven by novelty to one of the most arthritically canonic art forms still in existence. This new collection addresses questions that are key to opera's pa...
Female Singers on the French Stage, 1830-1848
Explores the profession of singing, operatic culture, and the representation of female performers on the nineteenth century French stage.
Essays on French Comic Drama from the 1640s to the 1780s
This is a rich collection of essays on French comic drama of the period from the renewal of comic drama in the 1640s to the eve of the French Revolution. The book offers exciting new studies of individual works and authors, while giving full consideration to broader issues. Major authors (such as Molière, Marivaux and Beaumarchais) are treated alongside authors who, while famous in their day and instrumental in the development of the genre, have lesser reputations today. The collection reveals the continuities, variations and new departures in the diverse comic traditions of the period in the different Paris theatres, including both the officially recognised Comédie-Française and Comédie-Italienne and the independent commercial Fair companies.
Sedaine, Greuze and the Boundaries of Genre
This volume reinterprets the work of the dramatist Michel-Jean Sedaine and the artist Jean-Baptiste Greuze, in the context of their innovative engagement with discourses of genre in eighteenth-century France, and in the light of new archival evidence. It reveals the complexity and audacity of both men's work, and restablishes the less well-known as a figure of major importance.
