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Jamais Rameau n'a été aussi actuel, dans son art comme dans sa science. Hautain, insolent, herculéen, admirablement obstiné, méditatif, hyperactif, magnifiquement dissonant et magnifiquement silencieux, il vous râpe les oreilles tout en vous enchantant. Il lut Descartes pour y apprendre à lire comme les bienheureux dont parle Alain, il tint tête dans sa folie spéculative aux plus grands esprits de son siècle, écrivant une musique que parfois il était le seul à entendre ; il fut un de ces très grands musiciens pour qui la musique n'a pas pour fonction d'adoucir les moeurs mais de réveiller la pensée. Ce Rameau-là, c'est aussi celui que Jean-Jacques Rousseau éclaira par une aversion lumineuse qui ne peut se réduire à un mouvement d'humeur. Pour comprendre, il n'est pas nécessaire d'aimer : il faut remonter aux principes et en déceler l'organisation afin de mieux les démonter. Parce qu'il travailla son aversion pour en faire une pensée et une contre-pensée, Rousseau fut et reste ici le meilleur instituteur, malveillant et extralucide.
Opera --- Opéra --- Rameau, Jean-Philippe, --- Rousseau, Jean-Jacques, --- Opéra --- Rameau, Jean-Philippe --- Opera - France - 18th century --- Rameau, Jean-Philippe, - 1683-1764 --- Rousseau, Jean-Jacques, - 1712-1778
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Opera --- Opéra --- Méhul, Etienne Nicolas, --- Opéra --- Méhul, Etienne Nicolas, --- Opera - France - 18th century --- Opera - France - 19th century --- Méhul, Etienne Nicolas, - 1763-1817. - Operas
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"This is the first book for a century to explore the development of French opera with spoken dialogue from its beginnings. Musical comedy in this form came in different styles and formed a distinct genre of opera, whose history has been obscured by neglect. Its songs were performed in private homes, where operas themselves were also given. The subject-matter was far wider in scope than is normally thought, with news stories and political themes finding their way onto the popular stage. In this book, the author describes the comedic and musical nature of eighteenth-century popular French opera, considering topics such as Gherardi's theatre, Fair Theatre and the 'musico-dramatic art' created in the mid-eighteenth century. Performance practices, singers, audience experiences and theatre staging are included, as well as a pioneering account of the formation of a core of 'canonical' popular works."
Musical theater --- Musical theater. --- Opera --- Opera. --- Opéra --- Théâtre musical --- History --- Histoire --- 1700-1799. --- France. --- Opera - France - 18th century --- Musical theater - France - History - 18th century
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La Querelle des Bouffons ne se réduit pas à un débat mondain entre tenants de l'opéra italien et tenants de l'opéra français. Elle révèle un virulent débat mêlant politique et esthétique, théâtre et littérature. Cet ouvrage a l'ambition d'analyser de manière interdisciplinaire l'objet culturel qu'a été la "Querelle des Bouffons" afin d'en mettre en valeur toute la complexité et le réseau d'interférences et de retombées politiques, esthétiques, littéraires, linguistiques et musicales
Music --- opera's --- anno 1700-1799 --- France --- Bouffons [Guerre des ] --- Guerre des Bouffons --- Opera --- Opéra --- Intellectual life --- Vie intellectuelle --- Querelle des Bouffons. --- Opéra --- 18th century --- Italy --- Opera - France - 18th century.
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Opera --- 840 "17" SEDAINE, MICHEL-JEAN --- Franse literatuur--18e eeuw. Periode 1700-1799--SEDAINE, MICHEL-JEAN --- 840 "17" SEDAINE, MICHEL-JEAN Franse literatuur--18e eeuw. Periode 1700-1799--SEDAINE, MICHEL-JEAN --- Gluck-Piccinni controversy --- Querelle des Bouffons --- Sedaine, --- M. S., --- S., M., --- Sedaine, Michel-Jean, --- Seden', --- Sedaine, Jean-Michel, --- Criticism and interpretation. --- Sedaine, Michel-Jean --- France --- 18th century --- Opera - France - 18th century.
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Le present ouvrage ne pretend pas proposer une histoire de l'edition de musique de 1550 a nos jours. Il consiste en une collection d'etudes explorant un versant foisonnant de l'histoire de la musique, l'edition musicale, depuis les premiers imprimes et l'insertion de portees dans les periodiques anciens jusqu'a la restitution critique des musiques du passe. Les approches retenues portent sur l'objet lui-meme et ses techniques autant que sur des criteres purement musicaux; sur les relations entre l'activite des editeurs avec le concert et la scene; ou encore sur les questions de choix de sources et les partis pris de restitution dans le domaine de l'edition musicologique contemporaine.
Il est aussi un recueil de textes concus en hommage a Jean Gribenski, dont l'enseignement a la Sorbonne, puis a l'Universite de Poitiers, a repose sur une methode historique accordant au document une attention meticuleuse. Chaque texte s'appuie donc, comme l'enseignement du maitre, sur un document dont l'analyse vise a eclairer des pratiques artistiques, sociales, commerciales ou scientifiques. Concus par des collegues et d'anciens etudiants, il profite des avancees spectaculaires de la recherche dans le domaine de l'histoire de l'edition musicale francaise au cours des quarante dernieres annees.
Music publishing --- Musique --- History --- Edition --- Histoire --- Gribenski, Jean --- Music --- Opera --- History and criticism. --- Gribenski, Jacques, --- Festschrift - Libri Amicorum --- History and criticism --- France --- 18th century --- 19th century --- Music - History and criticism. --- Opera - France - 18th century. --- Opera - France - 19th century. --- Gribenski, Jacques, - 1910-1999
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Ce recueil regroupe six parodies d'opéras, jouées à la Comédie-Italienne et à la Foire, ainsi que le livret de Pellegrin. Elles mettent en évidence la fascination exercée au XVIIIe siècle par le mythe de Médée et les moyens dramaturgiques pour s'en jouer.
Medea (Greek mythology) in opera --- Médée (Mythologie grecque) à l'opéra --- Medea --- Opera --- Medea, --- In opera --- Music --- Theatrical science --- In opera. --- Medea [Mythological character] --- Opera - France - 18th century --- Medea, - consort of Aegeus, King of Athens (Mythological character) - In opera --- Medea, - consort of Aegeus, King of Athens (Mythological character)
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This is the first study to recognise the broad impact of opera in early-modern French culture._Downing A. Thomas considers the use of operatic spectacle and music by Louis XIV as a vehicle for absolutism; the resistance of music to the aesthetic and political agendas of the time; and the long-term development of opera in eighteenth-century humanist culture. He argues that French opera moved away from the politics of the absolute monarchy in which it originated to address Enlightenment concerns with sensibility and feeling. The book combines close readings of significant seventeenth-century and eighteenth-century operatic works, circumstantial writings and theoretical works on theatre and opera, together with a measure of reception history. Thomas examines key works by Lully, Rameau, and Charpentier, among others, and extends his reach from the late seventeenth century to the end of the eighteenth.
Theatrical science --- anno 1600-1699 --- anno 1700-1799 --- Opera --- Music and state --- Enlightenment --- Music --- Opéra --- Musique --- Siècle des Lumières --- History --- Philosophy and aesthetics --- Politique gouvernementale --- Histoire --- Philosophie et esthétique --- History. --- Philosophy and aesthetics. --- -Music --- -Music and state --- -Opera --- -Comic opera --- Lyric drama --- Opera, Comic --- Operas --- Drama --- Dramatic music --- Singspiel --- State and music --- Cultural policy --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Aufklärung --- Eighteenth century --- Philosophy, Modern --- Rationalism --- History and criticism --- Social aspects --- -Philosophy and aesthetics --- -Drama --- Comic opera --- Opéra --- Siècle des Lumières --- Philosophie et esthétique --- -State and music --- Gluck-Piccinni controversy --- Querelle des Bouffons --- France --- 17th century --- 18th century --- Opera - France - 17th century. --- Opera - France - 18th century. --- Music and state - France - History. --- Enlightenment - France. --- Music - France - Philosophy and aesthetics. --- Opera - France - 18th century --- Music and state - France - History --- Enlightenment - France --- Music - France - Philosophy and aesthetics
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Music --- opera's --- muziekgeschiedenis --- anno 1700-1799 --- anno 1800-1899 --- France --- Italy --- Bouffons [Guerre des ] --- Guerre des Bouffons --- Opera [Italiaanse ] --- Opera [Italian ] --- Opera italien --- Performing arts --- Opera --- Arts du spectacle --- Opéra --- History --- Histoire --- Opéra --- 18th century --- 78.77.0 --- Performing arts - Italy - History - 18th century --- Performing arts - Italy - History - 19th century --- Opera - France - 18th century. --- Opera - France - 19th century. --- Opera - Italy - 18th century. --- Opera - Italy - 19th century.
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Opera --- Opéra --- -Comic opera --- Lyric drama --- Opera, Comic --- Operas --- Drama --- Dramatic music --- Singspiel --- History and criticism --- Rameau, Jean Philippe --- -Rameau, Jean Philippe --- Opéra --- Opera. --- Gluck-Piccinni controversy --- Querelle des Bouffons --- Rameau, Jean-Philippe, --- Ramo, Zhan Filipp, --- Rameau, --- Rameau, Johann Baptist, --- Rameau, J. Ph. --- Ramō, J. Ph., --- Ramō, Jan Firippu, --- Opera - France - 18th century --- OPERA FRANCAIS --- RAMEAU (JEAN-PHILIPPE), COMPOSITEUR FRANCAIS, 1683-1764 --- RAMEAU (JEAN-PHILIPPE)
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