Music Musicians And The Saint Simonians

The Saint-Simonians, whose movement flourished in France between 1825 and 1835, are widely recognized for their contributions to history and social thought. Until now, however, no full account has been made of the central role of the arts in their program. In this skillful interdisciplinary study, Ralph P. Locke describes and documents the Saint-Simonians' view of music as an ideological tool and the influence of this view on musical figures of the day. The disciples of Claude Henri de Rouvroy, comte de Saint-Simon, believed that increased industrial production would play a crucial role in improving the condition of the working masses and in shifting power from the aristocratic "drones" to the enterprising men of talent then rising in the French middle class. As a powerful means of winning support for their views, music became an integral part of the Saint-Simonians' writings and ceremonial activities. Among the musicians Locke discusses are Berlioz, Liszt, and Mendelssohn, whose tangential association with the Saint-Simonians reveals new aspects of their social and aesthetic views. Other musicians became the Saint-Simonians' faithful followers, among them Jules Vinçard, Dominique Tajan-Rogé, and particularly Félicien David, the movement's principal composer. Many of these composers' works, reconstructed by Locke from authentic sources, are printed here, including the "Premier Chant des industriels," written at Saint-Simon's request by Rouget de Lisle, composer of the "Marseillaise."

Nineteenth-Century Choral Music is an in-depth examination of the rich repertoire of choral music and the cultural phenomenon of choral music making throughout the period. The book is divided into three main sections. The first details the attraction to choral singing and the ways it was linked to different parts of society, and to the role of choral voices in the two principal large-scale genres of the period: the symphony and opera. A second section highlights ten choral-orchestral masterworks that are a central part of the repertoire. The final section presents overview and focus chapters covering composers, repertoire (both small and larger works), and performance life in an historical context from over a dozen regions of the world: Britain and Ireland, the Czech Republic, France, Germany, Hungary, Italy, Latin America, the Philippines, Poland, Russia, Scandinavia and Finland, Spain, and the United States. This diverse collection of essays brings together the work of 25 authors, many of whom have devoted much of their scholarly lives to the composers and music discussed, giving the reader a lively and unique perspective on this significant part of nineteenth-century musical life.

The most informed reference book on nineteenth-century music currently available, this comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. Essays investigate the intellectual and socio-political history of the time, and examine topics such as nations and nationalism, the emergent concept of an avant garde, and musical styles and languages at the turn of the century. It contains a detailed chronology, and extensive glossaries.

Responding to the decline of the monarchy and the church in post-revolutionary France, theorists representing a wide spectrum of leftist ideologies proposed comprehensive blueprints for society that assigned a crucial role to aesthetics. In this full-length investigation of social romanticism, Neil McWilliam explores the profound impact of radical philosophies on contemporary aesthetics and art criticism, and traces efforts to conscript the arts for doctrinal ends. He highlights the complexity and diversity of systems such as Saint-Simonianism, Fourierism, Republicanism, and Christian Socialism--movements that set out to exploit the ameliorative effect of aesthetic form on human consciousness--and challenges the previous linking of social art to narrow didacticism. This book seeks an understanding both of the conventions of artistic judgment and reception and of the aims and significance of radical political ideologies. Drawing on a broad spectrum of previously neglected journalistic criticism, visual material, and archival sources, together with key political texts by figures such as Saint-Simon, Philippe Buchez, and Pierre Leroux, this work reveals an important facet of radical history and modifies received understandings of French art in the wake of Romanticism. In the process it probes the role of culture within oppositional political practice, arguing that the ultimate failure to realize a social art exposes the limits of the radicals' break with dominant discourse and their hesitancy in forging links with a culturally disenfranchised working class. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Introducing the concept of music and painting as 'rival sisters' during the nineteenth century, this interdisciplinary collection explores the productive exchange-from rivalry to inspiration to collaboration-between the two media in the age of Romanticism and Modernism. The volume traces the relationship between art and music, from the opposing claims for superiority of the early nineteenth century, to the emergence of the concept of synesthesia around 1900. This collection puts forward a more complex history of the relationship between art and music than has been described in earlier works, including an intermixing of models and distinctions between approaches to them. Individual essays from art history, musicology, and literature examine the growing influence of art upon music, and vice versa, in the works of Berlioz, Courbet, Manet, Fantin-Latour, Rodin, Debussy, and the Pre-Raphaelites, among other artists.

This is a comprehensive critical study of the nineteenth-century French grand opéra La Juive, by Halévy.

A new and groundbreaking approach to the history of grand opera, Grand Illusion: Phantasmagoria in Nineteenth-Century Opera explores the illusion and illumination behind the form's rise to cultural eminence. Renowned opera scholar Gabriela Cruz argues that grand opera worked to awaken memory and feeling in a way never before experienced in the opera house, asserting that the concept of "spectacle" was the defining cultural apparatus of the art form after the 1820s. Parisian audiences at the Académie Royale de Musique were struck by the novelty and power of grand opera upon the introduction of gaslight illumination, a technological innovation that quickly influenced productions across the Western operatic world. With this innovation, grand opera transformed into an audio-visual spectacle, delivering dream-like images and evoking the ghosts of its audiences' past. Through case studies of operas by Giacomo Meyerbeer, Richard Wagner, and Giuseppe Verdi, Cruz demonstrates how these works became an increasingly sophisticated medium by which audiences could conjure up the past and be transported away from the breakdown of modern life. A historically informed narrative that traverses far and wide, from dingy popular theatres in post-revolutionary Paris, to nautical shows in London, and finally to Egyptian mummies, Grand Illusion provides a fresh departure from previous scholarship, highlighting the often-neglected visual side of grand opera.