D'Antoine Boesset, surintendant de la musique de la chambre de Louis XIII, on ne connait que sa musique profane. On sait pourtant qu'il fut maitre de musique des religieuses de Montmartre jusqu'a sa mort en 1643. Huit pieces religieuses attribuees a « Boesset » dans le recueil « Deslauriers » de la Bibliotheque nationale de France (F-Pn Vma ms. res.571) sont considerees, depuis Sebastien de Brossard, comme l'oeuvre du fils d'Antoine, Jean-Baptiste de Boesset (1614-1685). Une etude approfondie du manuscrit permet de nombreuses reevaluations. Une nouvelle chronologie detaillee de ses fascicules montre d'abord que les huit pieces attribuees a « Boesset » ne peuvent avoir ete composees que par Antoine Boesset, le pere. En outre, la mise au jour des origines du recueil Deslauriers conduit a une interpretation inedite de quatre-vingt-dix autres pieces anonymes qu'il contient. Ce recueil est en fait le fruit de pres de cinquante ans de travail d'un seul copiste: Andre Pechon, maitre de musique a Saint-Germain l'Auxerrois puis a Meaux. A partir de ces donnees, d'une etude des concordances internes au manuscrit, et de l'identification des sources du plain-chant a la base d'un grand nombre d'oeuvres, il apparait que pres d'une centaine de pieces du recueil Deslauriers furent composees pour les religieuses de Montmartre, certainement par Antoine Boesset. En identifiant ainsi le plus large corpus de musique religieuse de cette periode, ou figurent a la fois les premieres oeuvres avec basse continue composees en France et les premiers exemples de « plain-chant musical », une nouvelle page s'ouvre dans l'etude de la vie musicale sous Louis XIII.
关于路易十三房间的音乐主管安托万·博塞特，我们只知道他的世俗音乐。然而，众所周知，在1643年去世之前，他一直是蒙马特修女的音乐大师。在Bibliotheque nationale de France (F-Pn Vma ms. res.571)的“Deslauriers”合集中，八件被认为是“Boesset”的宗教作品，自Sebastien de Brossard以来，被认为是antoine的儿子Jean-Baptiste de Boesset(1614-1685)的作品。对手稿的深入研究使许多重新评估成为可能。一份新的详细年表显示，这八首被认为是“波塞特”的作品只能由他的父亲安托万·波塞特创作。此外，对《德斯劳里埃文集》起源的揭露导致了对其中包含的90件其他匿名作品的前所未有的解释。这本合集实际上是一个抄写员近50年工作的成果:安德烈·佩雄，圣日耳曼欧塞罗和莫的音乐大师。根据这些数据，对手稿内部一致性的研究，以及对许多作品的来源的鉴定，《德斯劳里埃文集》中大约有100首作品是为蒙马特的修女们创作的，可能是安托万·波塞特。通过确定这一时期最广泛的宗教音乐语料库，其中包括在法国创作的第一部连续低音作品和第一批“音乐水平歌曲”的例子，路易十三时期的音乐生活研究翻开了新的一页。
{"title":"Antoine Boësset's sacred music for the royal abbey of montmartre : Newly identified polyphony and plain-chant musical from the « Deslauriers » Manuscript (F-Pn Vma ms. rés. 571)","authors":"Peter Bennett","doi":"10.2307/20141616","DOIUrl":"https://doi.org/10.2307/20141616","url":null,"abstract":"D'Antoine Boesset, surintendant de la musique de la chambre de Louis XIII, on ne connait que sa musique profane. On sait pourtant qu'il fut maitre de musique des religieuses de Montmartre jusqu'a sa mort en 1643. Huit pieces religieuses attribuees a « Boesset » dans le recueil « Deslauriers » de la Bibliotheque nationale de France (F-Pn Vma ms. res.571) sont considerees, depuis Sebastien de Brossard, comme l'oeuvre du fils d'Antoine, Jean-Baptiste de Boesset (1614-1685). Une etude approfondie du manuscrit permet de nombreuses reevaluations. Une nouvelle chronologie detaillee de ses fascicules montre d'abord que les huit pieces attribuees a « Boesset » ne peuvent avoir ete composees que par Antoine Boesset, le pere. En outre, la mise au jour des origines du recueil Deslauriers conduit a une interpretation inedite de quatre-vingt-dix autres pieces anonymes qu'il contient. Ce recueil est en fait le fruit de pres de cinquante ans de travail d'un seul copiste: Andre Pechon, maitre de musique a Saint-Germain l'Auxerrois puis a Meaux. A partir de ces donnees, d'une etude des concordances internes au manuscrit, et de l'identification des sources du plain-chant a la base d'un grand nombre d'oeuvres, il apparait que pres d'une centaine de pieces du recueil Deslauriers furent composees pour les religieuses de Montmartre, certainement par Antoine Boesset. En identifiant ainsi le plus large corpus de musique religieuse de cette periode, ou figurent a la fois les premieres oeuvres avec basse continue composees en France et les premiers exemples de « plain-chant musical », une nouvelle page s'ouvre dans l'etude de la vie musicale sous Louis XIII.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"321-367"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141616","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I throw new light on Vincent d'Indy's reputation before 1900 by examining what his disciples have ignored, including little-known works, and by deconstructing attitudes accumulated over time. In fact, d'Indy was much less marginal and removed from republican institutions and their ideologies than we have been led to believe. His actions and works reveal a man who built alliances that served the State as well as the composer. Winning the City of Paris prize taught d'Indy early in his career the power of his difference. In the 1880s and 1890s, the State recognized that d'Indy could help it confront those controlling the conventions impeding musical progress, particularly the monopolies of the Academie des Beaux-Arts over major prizes and the Conservatoire over advanced musical education. His differences also helped bridge conflicts within Republican institutions : within the « family » of the Conservatoire (e.g. Franck vs. Massenet); between the Conservatoire under the musically conservative Thomas and the government under the politically moderate Ferry; then between Thomas and a Ministry determined to change the Conservatoire's curricula. At the Schola after 1900, while he conducted the appearance of war with the Conservatoire, downplaying what they shared, he put into place educational reforms conceived while working on the committee to reform the Conservatoire. In misconstruing the nature and function of political differences in France and their relationship to reputation-building strategies, we risk substituting ideology and our own projections of its meaning for the composer's importance in French musical life of the Belle Epoque.
在这篇文章中，我通过研究文森特·迪因迪的门徒们所忽视的作品，包括一些鲜为人知的作品，以及解构随着时间积累的态度，对1900年之前文森特·迪因迪的名声有了新的认识。事实上，迪因迪远没有我们所认为的那样边缘化，也没有像我们所认为的那样远离共和制度和他们的意识形态。他的行为和作品表明，他建立了一个为国家和作曲家服务的联盟。赢得巴黎城市奖让迪因迪在职业生涯早期就意识到自己与众不同的力量。在19世纪80年代和90年代，该州认识到，迪因迪可以帮助它对抗那些控制阻碍音乐进步的惯例的人，尤其是美术学院(Academie des Beaux-Arts)对主要奖项的垄断，以及音乐学院(Conservatoire)对高等音乐教育的垄断。他的差异也有助于弥合共和机构内部的冲突:在音乐学院的“家庭”内部(例如弗兰克与马斯内);音乐上保守的托马斯领导的音乐学院和政治上温和的费里领导的政府;然后是托马斯和决定改变音乐学院课程的魔法部之间的较量。1900年之后，在学院，虽然他与音乐学院进行了表面上的战争，淡化了他们之间的共同之处，但他实施了在音乐学院改革委员会工作时构想的教育改革。在误解法国政治差异的性质和功能及其与声誉建立策略的关系时，我们冒着用意识形态和我们自己对其意义的预测来代替作曲家在美好时代法国音乐生活中的重要性的风险。
{"title":"Déconstruire d'Indy","authors":"Jann Pasler","doi":"10.2307/20141617","DOIUrl":"https://doi.org/10.2307/20141617","url":null,"abstract":"In this article, I throw new light on Vincent d'Indy's reputation before 1900 by examining what his disciples have ignored, including little-known works, and by deconstructing attitudes accumulated over time. In fact, d'Indy was much less marginal and removed from republican institutions and their ideologies than we have been led to believe. His actions and works reveal a man who built alliances that served the State as well as the composer. Winning the City of Paris prize taught d'Indy early in his career the power of his difference. In the 1880s and 1890s, the State recognized that d'Indy could help it confront those controlling the conventions impeding musical progress, particularly the monopolies of the Academie des Beaux-Arts over major prizes and the Conservatoire over advanced musical education. His differences also helped bridge conflicts within Republican institutions : within the « family » of the Conservatoire (e.g. Franck vs. Massenet); between the Conservatoire under the musically conservative Thomas and the government under the politically moderate Ferry; then between Thomas and a Ministry determined to change the Conservatoire's curricula. At the Schola after 1900, while he conducted the appearance of war with the Conservatoire, downplaying what they shared, he put into place educational reforms conceived while working on the committee to reform the Conservatoire. In misconstruing the nature and function of political differences in France and their relationship to reputation-building strategies, we risk substituting ideology and our own projections of its meaning for the composer's importance in French musical life of the Belle Epoque.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"369-400"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141617","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
If the cantatas which form the essence of the Prix de Rome competition are well known today (at least for the "academic" character which one frequently attributes to them), the same cannot be said for the envois de Rome -the works prescribed to composers during their sojourn at the Villa Medicis. Since 1803, a series of regulations implemented by the Academie des beaux-arts had imposed precise compositional requirements on the artists, yet they also demanded an originality of style. At the same time as fighting foreign influence (and notably Wagnerianism), the emphasis given to the so-called "official" genres gradually diminished : besides different types of vocal music (mass, opera, cantata...), the recognition given to the symphony (1846), the symphonic poem (1883), and chamber music (1894) rejects the modern-day notion that the Prix de Rome encouraged only lyric genres. In a clear display of post-war artistic patriotism, the creation of a Concert des Envois de Rome at the Conservatoire in 1874 finally provided a "real" context for the appreciation of these works - from then on judged by the public and the critics (instead of the academicians of the Institut).
如果说构成罗马大奖比赛精髓的康塔塔在今天是众所周知的(至少是人们经常赋予它们的“学术”特征)，那么罗马使者(在美第奇别墅逗留期间指定给作曲家的作品)就不是这样了。自1803年以来，由Academie des beaux-arts实施的一系列规定对艺术家提出了精确的构图要求，但他们也要求风格的独创性。与此同时，为了对抗外来影响(尤其是瓦格纳主义)，对所谓“官方”流派的重视逐渐减少:除了不同类型的声乐(弥撒、歌剧、康塔塔……)，对交响乐(1846年)、交响诗(1883年)和室内乐(1894年)的认可，拒绝了罗马大奖只鼓励抒情流派的现代观念。在战后艺术爱国主义的清晰展示中，1874年在音乐学院创建的罗马使者音乐会终于为这些作品的欣赏提供了一个“真实”的背景——从那时起，由公众和评论家(而不是学院的院士)来评判。
{"title":"Les « Envois de Rome » des compositeurs pensionnaires de la Villa Médicis (1804-1914)","authors":"Alexandre Dratwicki","doi":"10.2307/20141599","DOIUrl":"https://doi.org/10.2307/20141599","url":null,"abstract":"If the cantatas which form the essence of the Prix de Rome competition are well known today (at least for the \"academic\" character which one frequently attributes to them), the same cannot be said for the envois de Rome -the works prescribed to composers during their sojourn at the Villa Medicis. Since 1803, a series of regulations implemented by the Academie des beaux-arts had imposed precise compositional requirements on the artists, yet they also demanded an originality of style. At the same time as fighting foreign influence (and notably Wagnerianism), the emphasis given to the so-called \"official\" genres gradually diminished : besides different types of vocal music (mass, opera, cantata...), the recognition given to the symphony (1846), the symphonic poem (1883), and chamber music (1894) rejects the modern-day notion that the Prix de Rome encouraged only lyric genres. In a clear display of post-war artistic patriotism, the creation of a Concert des Envois de Rome at the Conservatoire in 1874 finally provided a \"real\" context for the appreciation of these works - from then on judged by the public and the critics (instead of the academicians of the Institut).","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"99-193"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141599","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
L. Guillo, Élisabeth Gallat-Morin, J. Pinson, P. Dubois, C. Laforte, Erich Schwandt, François Filiatraut
{"title":"La Vie musicale en Nouvelle-France","authors":"L. Guillo, Élisabeth Gallat-Morin, J. Pinson, P. Dubois, C. Laforte, Erich Schwandt, François Filiatraut","doi":"10.2307/20141603","DOIUrl":"https://doi.org/10.2307/20141603","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"264"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141603","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The first Parisian stay (1839-1842) of Richard Wagner was a very important one. He arrived with the purpose of becoming a grand opera composer and leaved the city with the finished score of Der fliegende Hollander. The numerous articles he wrote in Paris for French and German newspapers give us an important testimony of his change of mind. For the 1841 production of Carl Maria von Weber's opera Der Freischutz (with the additional recitatifs of Hector Berlioz) Wagner wrote two papers: the first one before the performance for the Revue et Gazette musicale de Paris and the second one as a critic for the Abend-Zeitung in Dresden. These texts show us that Wagner begins to reject the universalist aesthetics he developed since 1834. The grand opera is no more considered as an artistic goal but depicted as an industrial art, a product of the modern civilisation. Wagner is becoming aware of the cultural difference and the different levels of perception between the French and the German assistance. In his two articles, he already asserts some of the arguments he will use ten years later to construct his critic of the contemporary opera and his theory of the musical drama. After this first Parisian stay, Wagner will continue to be at some level influenced by the grand opera but the articles on Der Freischutz show us clearly that a decisive turn occured in his mind.
{"title":"« Wie ist mir wohl, daB ich ein Deutscher bin ! » : Le Freischütz à Paris (1841) et les doutes de Richard Wagner face au grand opéra français","authors":"Yaël Hêche","doi":"10.2307/20141598","DOIUrl":"https://doi.org/10.2307/20141598","url":null,"abstract":"The first Parisian stay (1839-1842) of Richard Wagner was a very important one. He arrived with the purpose of becoming a grand opera composer and leaved the city with the finished score of Der fliegende Hollander. The numerous articles he wrote in Paris for French and German newspapers give us an important testimony of his change of mind. For the 1841 production of Carl Maria von Weber's opera Der Freischutz (with the additional recitatifs of Hector Berlioz) Wagner wrote two papers: the first one before the performance for the Revue et Gazette musicale de Paris and the second one as a critic for the Abend-Zeitung in Dresden. These texts show us that Wagner begins to reject the universalist aesthetics he developed since 1834. The grand opera is no more considered as an artistic goal but depicted as an industrial art, a product of the modern civilisation. Wagner is becoming aware of the cultural difference and the different levels of perception between the French and the German assistance. In his two articles, he already asserts some of the arguments he will use ten years later to construct his critic of the contemporary opera and his theory of the musical drama. After this first Parisian stay, Wagner will continue to be at some level influenced by the grand opera but the articles on Der Freischutz show us clearly that a decisive turn occured in his mind.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"73-97"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141598","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Un fonds de livrets conservé à la Bibliothèque municipale de Grenoble: Une source importante pour l'étude de la musique religieuse toulousaine (1726-1744)","authors":"B. Michel","doi":"10.2307/20141601","DOIUrl":"https://doi.org/10.2307/20141601","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"233-258"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141601","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Écrits sur la musique, 1827-1846","authors":"Joseph d' Ortigue, S. Lacroix","doi":"10.2307/20141604","DOIUrl":"https://doi.org/10.2307/20141604","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"267"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141604","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Un cerveau de philosophe et des doigts d'artiste","authors":"Geneviève Honegger, M. Jaëll","doi":"10.2307/20141627","DOIUrl":"https://doi.org/10.2307/20141627","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"486"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141627","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"La maison de l'artiste : construction d'un espace de représentations entre réalité et imaginaire (XVIIe-XXe siècles)","authors":"J. Gribenski, V. Meyer, Solange Vernois","doi":"10.2307/20141632","DOIUrl":"https://doi.org/10.2307/20141632","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"44 1","pages":"498"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141632","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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