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03849aam a2200481 i 4500 001 940B2668323411EC8B1165C359ECA4DB 003 SILO 005 20211021010114 008 201214s2021 nyua b 001 0 eng 010 $a 2020056199 020 $a 1648250165 020 $a 9781648250163 035 $a (OCoLC)1228214077 040 $a DLC $b eng $e rda $c DLC $d OCLCO $d OCLCF $d UKMGB $d YDX $d SILO 042 $a pcc 043 $a e-fr--- 050 00 $a ML270 $b .W23 2021 082 00 $a 780.944 $2 23 100 1 $a Weber, William, $d 1940- $e author. 245 10 $a Canonic repertories and the French musical press : $b Lully to Wagner / $c William Weber, with Beverly Wilcox. 264 1 $a Rochester, NY : $b University of Rochester Press, $c 2021. 300 $a x, 317 pages : $b illustrations (black and white) ; $c 24 cm. 490 1 $a Eastman studies in music, $x 1071-9989 ; $v v. 177 504 $a Includes bibliographical references and index. 505 0 $a The Domestic versus the Foreign in Eighteenth-century Paris and London -- Elements of canon Formation at the Concert Spirituel / Beverly Wilcox -- To Praise or to criticize? The evolution of music criticism in eighteenth-century France -- Haydn in the press during the 1780s : How did a Canon Arise? -- Parallel canons at the Opera and the Comedie-Francʹaise at the end of the Ancien Regime -- Negotiating repertory, public demand, and les progres de la musique at the Paris Opera, 1815-1830 -- Tracing the evolution of le vieux repertoire at the Opera-Comique in the nineteenth century -- Richard Wagner, concert life, and musical canon in Paris, 1860-1914. 520 $a "This long-awaited book by a leading historian of European music life offers a fresh reading of concert and operatic life by showing how certain musical works in eighteenth- and nineteenth-century France came to be considered "canonic": that is, admirable and worthy of being taken as models. In a series of interlinked essays, William Weber draws particular attention to the ways in which such reputations could shift in different eras and circumstances. The first chapter outlines how such a surge of reputation came about for Jean-Baptiste Lully after his death in 1687, followed a century later by one for the operas of Christoph-Willibald Gluck and Niccolo Piccinni. Next, Beverly Wilcox contributes a crucial chapter exploring how a canon of sacred works evolved at the Concert Spirituel between 1725 and 1790. Subsequent chapters detail the rise of an "incipient canon" for Joseph Haydn's music in the 1780s; a new operatic canon centered on works of Gioachino Rossini and Giacomo Meyerbeer; a century-long canonic repertory at the theater of the Opera-Comique; and, between 1860 and 1914, frequent concert performances of excerpts from Wagner's operas, sometimes along with excerpts from Meyerbeer's. Throughout, Weber and Wilcox demonstrate how the French musical press reflected musical taste, and also shaped it, across two centuries"-- $c Provided by publisher. 650 0 $a Musical canon $z France $x History. 650 0 $a Musical criticism $z France $x History. 650 0 $a Music $z France $x History and criticism. 650 0 $a Opera $z France. 650 7 $a Music. $2 fast $0 (OCoLC)fst01030269 650 7 $a Musical canon. $2 fast $0 (OCoLC)fst01030702 650 7 $a Musical criticism. $2 fast $0 (OCoLC)fst01030706 650 7 $a Opera. $2 fast $0 (OCoLC)fst01046145 651 7 $a France. $2 fast $0 (OCoLC)fst01204289 655 7 $a Criticism, interpretation, etc. $2 fast $0 (OCoLC)fst01411635 655 7 $a History. $2 fast $0 (OCoLC)fst01411628 700 1 $a Wilcox, Beverly, $e author. 776 08 $i ebook version : $z 9781800103290 830 0 $a Eastman studies in music ; $v v. 177. 941 $a 1 952 $l OVUX522 $d 20231117024455.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=940B2668323411EC8B1165C359ECA4DBInitiate Another SILO Locator Search