Katharine Ellis's Interpreting the Musical Past: Early Music in PDF

By Katharine Ellis

This learn of the French early track revival offers us a vibrant feel of the way music's cultural meanings have been contested within the 19th century. It surveys the most styles of revivalist task whereas additionally supplying in-depth reviews of repertories stretching from Adam de l. a. Halle to Rameau.

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Raphael Georg Kiesewetter (1773–1850) won the gold medal; Fétis the silver. In a striking example of the slippage between Flemish and French that was to characterize discussion of these composers in France and Belgium throughout the century (see chapter 5), both essays discussed the composers whom Choron featured in his history of the French school. For a discussion of the tensions between the models of Auguste Comte and Victor Cousin in Fétis’s philosophy of music history, see my Music Criticism, 33–45.

Mention of “the Jommelli offertorio” invariably refers to this particular piece, whose popularity was stressed on the title-page of an edition of 1811: Offertoire . . tiré du répertoire de la Chapelle Sixtine, exécuté par les Conservatoires d’Italie, de France, aux Concerts de l’Odéon, &c (Paris: Pierre Porro, [1811]). Its rococo style renders it a “watershed” work by a composer whose stile antico works also remained in the repertory. 20. Undated handlist, AN Paris: AJ37 84, liasse 8. 21. Information is limited.

After her husband’s death in 1839 she began trading as “Veuve Launer,” and changed the direction of the business to specialize in music from Dufay and Palestrina to Bach and Marcello. -B. Laurens’s edition of 1841); Launer who produced the new and immensely popular complete vocal scores of Marcello’s 50 psalm settings (supplanting Carli’s edition of 1818); Launer with whom Adrien de Lafage worked to produce editions of Palestrina masses and motets that were so cheap that they were advertized in the orphéon press.

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