Immediately after Mozart's decease the rumour was heard that he had not died a natural death. This rumour spread through the whole of Europe after 1823, enriched with Antonio Salieri's name as Mozart's possible murderer and strengthened by a series of articles in the Parisian press. These articles, which we publish here, were the cause of written reactions by several authors in defence of Salieri.
{"title":"Mozart empoisonné ! Extraits de la presse parisienne sur la propagation d'une rumeur au milieu des années 1820","authors":"Helmut C. Jacobs","doi":"10.2307/20141620","DOIUrl":"https://doi.org/10.2307/20141620","url":null,"abstract":"Immediately after Mozart's decease the rumour was heard that he had not died a natural death. This rumour spread through the whole of Europe after 1823, enriched with Antonio Salieri's name as Mozart's possible murderer and strengthened by a series of articles in the Parisian press. These articles, which we publish here, were the cause of written reactions by several authors in defence of Salieri.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"91 1","pages":"455-468"},"PeriodicalIF":0.3,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20141620","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69119794","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":"Liszt 2000. The Great Hungarian and European Master at the Threshold of the 21st Century","authors":"S. Gut, K. Hamburger","doi":"10.2307/947487","DOIUrl":"https://doi.org/10.2307/947487","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"229"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947487","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227314","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":"Les \"grands musiciens\" a l'epoque de leur diffusion massive","authors":"M. Jouvenet","doi":"10.2307/947477","DOIUrl":"https://doi.org/10.2307/947477","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"187"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947477","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227249","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":"L'Art de la Fugue. Un \"probleme algebrique\"","authors":"S. Gut, Vincent Dequevauviller","doi":"10.2307/947482","DOIUrl":"https://doi.org/10.2307/947482","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"214"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947482","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227270","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}
Serge Gut, Werner Breig, Martin Durrer, A. Mielke, R. Wagner, Isabel Kraft
{"title":"Wagner-Briefe-Verzeichnis. (WBV)","authors":"Serge Gut, Werner Breig, Martin Durrer, A. Mielke, R. Wagner, Isabel Kraft","doi":"10.2307/947488","DOIUrl":"https://doi.org/10.2307/947488","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"232"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947488","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227322","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":"Bibliographie des travaux de Francois Lesure","authors":"J. Gribenski, C. Meyer","doi":"10.2307/947236","DOIUrl":"https://doi.org/10.2307/947236","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"276 1","pages":"457"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947236","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225524","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}
During two decades (1840-1860), Henri-Frederic Amiel, as well as being philosophy professor at the University of Geneva, had a career as music amateur that he described extensively in his large diary. Extremely keen on Beethoven, he gradually discovered what was called « grande musique ». At the same time, a new art of listening was being created by different practices based on explanatory texts, physical gestures and an aesthetics of effort. Amiel's passion was not exclusive of lighter types of music that were in fact part of the world of the music amateur during the 19 t h century. This cultural universe was indeed filled with contradictions, but only superficially.
{"title":"Aimer Beethoven : Les années d'apprentissage d'Henri-Frédéric Amiel, amateur de musique genevois (1840-1860)","authors":"Rémy Campos","doi":"10.2307/947470","DOIUrl":"https://doi.org/10.2307/947470","url":null,"abstract":"During two decades (1840-1860), Henri-Frederic Amiel, as well as being philosophy professor at the University of Geneva, had a career as music amateur that he described extensively in his large diary. Extremely keen on Beethoven, he gradually discovered what was called « grande musique ». At the same time, a new art of listening was being created by different practices based on explanatory texts, physical gestures and an aesthetics of effort. Amiel's passion was not exclusive of lighter types of music that were in fact part of the world of the music amateur during the 19 t h century. This cultural universe was indeed filled with contradictions, but only superficially.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"9-42"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947470","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227662","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 his « Discours sur la musique d'Eglise » (1706), Lecerf de La Vieville stated that the « music intended for gods, that he [Lully] put onto his theatre [stage], like sacrifices and invocations, shows us some admirableexamples of the exact observance of our rules. Let them be obeyed in the motets of our churches [... they] will make Christians pray excellently, » thus inciting composers to model their motets on Lully's operatic divertissements. In 1757, Jacques Lacombe further added that French « should be employed » in motets sung at the Concert Spirituel, because « listeners could follow the subject of the poem with ease and judge more clearly the appropriateness of the expression that the musician gave to the words, » as if the well-known operatic topoi used in grands motets since La Vieville's time-such as Jean-Joseph Cassanea de Mondonville's Venite exultemus-were not sufficient enough to make the words understood to those ignorant of Latin. Lacombe's criticism may even have urged Mondonville to write what have been thus far thought to be the first « motets francais » (i.e., oratorios sung in French): Les Israelites a la Montagne d'Oreb (1758) and Les Fureures de Saul (1759). This story however needs revision in the light of Jacques Morel's 1706 setting of a French translation of the Te Deum, and of the I e r Concert spirituel (1727) that Alexandre de Villeneuve composed on Simon-Joseph Pellegrin's French paraphrase of Psalm 96. In both cases, the French verses can easily be compared to contemporaneous dramatic libretti calling for the usual operatic features, thus strongly suggesting that the two musicians and their poets devised their motets as genuine sacred divertissements akin to the French oratorios of a later period.
Lecerf de la Vieville在他的“diss sur la musque d’eglise”(1706)中说，“他(Lully)在他的剧院(舞台)上为神设计的音乐，就像祭祀和祈祷一样，向我们展示了一些令人钦佩的遵守我们规则的例子。”让他们在我们教堂的圣歌中得到遵守……他们[会使基督徒祈祷得很好，”从而激励作曲家们模仿吕利的歌剧消遣来创作他们的圣歌。1757年，雅克·拉孔布进一步补充说，在精神音乐会演唱的颂歌中“应该使用”法语，因为“听众可以轻松地跟随诗歌的主题，更清楚地判断音乐家赋予歌词的表达是否恰当，仿佛从拉·维维尔时代起，那些著名的歌剧主题——比如让-约瑟夫·卡萨尼亚·德·蒙东维尔的《欢腾的威尼斯》——还不足以让那些不懂拉丁语的人理解这些词。拉孔布的批评甚至可能促使蒙东维尔写出迄今为止被认为是第一部“motets francais”(即用法语演唱的清唱剧):Les Israelites a la Montagne d'Oreb(1758)和Les Fureures de Saul(1759)。然而，这个故事需要根据雅克·莫雷尔1706年的法语翻译的背景进行修改，以及亚历山大·德·维伦纽夫根据西蒙-约瑟夫·佩尔格林的法语解释创作的《诗篇》第96篇的《I er Concert spirituel》(1727年)。在这两种情况下，法国诗歌可以很容易地与同时代的戏剧剧本相提并论，这些剧本要求通常的歌剧特征，因此强烈暗示这两位音乐家和他们的诗人将他们的颂歌设计为真正神圣的消遣，类似于后期的法国清唱剧。
{"title":"Le Te Deum de Jacques Morel et le Concert spirituel d'Alexandre de Villeneuve comme exemples de divertissements sacres","authors":"J. Montagnier","doi":"10.2307/947220","DOIUrl":"https://doi.org/10.2307/947220","url":null,"abstract":"In his « Discours sur la musique d'Eglise » (1706), Lecerf de La Vieville stated that the « music intended for gods, that he [Lully] put onto his theatre [stage], like sacrifices and invocations, shows us some admirableexamples of the exact observance of our rules. Let them be obeyed in the motets of our churches [... they] will make Christians pray excellently, » thus inciting composers to model their motets on Lully's operatic divertissements. In 1757, Jacques Lacombe further added that French « should be employed » in motets sung at the Concert Spirituel, because « listeners could follow the subject of the poem with ease and judge more clearly the appropriateness of the expression that the musician gave to the words, » as if the well-known operatic topoi used in grands motets since La Vieville's time-such as Jean-Joseph Cassanea de Mondonville's Venite exultemus-were not sufficient enough to make the words understood to those ignorant of Latin. Lacombe's criticism may even have urged Mondonville to write what have been thus far thought to be the first « motets francais » (i.e., oratorios sung in French): Les Israelites a la Montagne d'Oreb (1758) and Les Fureures de Saul (1759). This story however needs revision in the light of Jacques Morel's 1706 setting of a French translation of the Te Deum, and of the I e r Concert spirituel (1727) that Alexandre de Villeneuve composed on Simon-Joseph Pellegrin's French paraphrase of Psalm 96. In both cases, the French verses can easily be compared to contemporaneous dramatic libretti calling for the usual operatic features, thus strongly suggesting that the two musicians and their poets devised their motets as genuine sacred divertissements akin to the French oratorios of a later period.","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"265-296"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947220","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225392","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":"Du Be-Bop au Free Jazz. Formes et techniques d'improvisation chez C. Parker, M. Davis et O. Coleman","authors":"P. Michel, J. Aboucaya, Jean-Pierre Peyrebelle","doi":"10.2307/947232","DOIUrl":"https://doi.org/10.2307/947232","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"449"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947232","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69225521","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":"Du concert a l'ecoute: tendances recentes de l'histoire sociale de la musique","authors":"Sophie Maisonneuve","doi":"10.2307/947476","DOIUrl":"https://doi.org/10.2307/947476","url":null,"abstract":"","PeriodicalId":42522,"journal":{"name":"REVUE DE MUSICOLOGIE","volume":"88 1","pages":"171"},"PeriodicalIF":0.3,"publicationDate":"2002-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/947476","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69227238","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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