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The King of Rome
Charles Desnoyer (1806-1858) and Léon Beauvallet (1828-1885) were French playwrights of the mid-nineteenth century. THE KING OF ROME focuses on the Emperor Napoleon's only son, the Duke of Reichstadt, who was held a captive by his maternal grandfather, the Emperor of Austria. Fearing that he would emulate his father or be used by a Napoleonic conspiracy to capture the French throne, the Duke was kept in ignorance of his father's identity, as well as of the basic facts of recent European history; and an attempt was also made to debauch his morals, in order to discredit his name if he did escape. This play traces the attempt of a French soldier to penetrate the Austrian palace where the boy was kept, as part of a failed attempt to free him from his "prison"; and the awakening of the younger Napoleon to an awareness of his deadly family heritage. First-rate political drama by two accomplished writers!
Principles of the Harpsichord by Monsieur de Saint Lambert
Saint Lambert's Principles of the Harpsichord of 1702 was the first tutor for harpsichord to be published in France. It draws upon the dance-oriented harpsichord style developed during the reign of Louis XIV by such masters as Jacques Champion de Chambonnierès, Louis Couperin, and Jean Henry d'Anglebert. In subject matter it ranges from the fundamentals of music through questions of meter and tempo to particulars of harpsichord technique and ornamentation. Because of its broad scope it is an important source of information about both late seventeenth-century French performance practice and music theory. It provides a good complement to Francois Couperin's well-known book l'Art de toucher le...
The Harpsichord and Clavichord
The Harpsichord and Clavichord, An Encyclopedia includes articles on this family of instruments, including famous players, composers, instruments builders, the construction of the instruments, and related terminology. It is the first complete reference on this important family of keyboard instruments. The contributors include major scholars of music and musical instrument history from around the world. It completes the three-volume Encyclopedia of Keyboard Instruments.
François Couperin and 'The Perfection of Music'
François Couperin's contribution to the literature of baroque keyboard music has long been recognized. François Couperin and 'The Perfection of Music' updates and expands upon David Tunley's valuable 1982 BBC Music Guide to the composer, and examines the whole of Couperin’s output including the organ masses, motets and chamber music, in addition to the well-known works for harpsichord. Taking as its focal point Couperin's concept of the perfection of music through the union of the French and Italian styles, this book takes a more analytical approach to Couperin's work. Early chapters outline the main contrasting features of the two schools in the seventeenth- and early eighteenth-centuries, and it becomes clear that Couperin's expressive power owed much to his fusion of the polarities of the French classical tradition with that of the Italian baroque. The book features a number of appendices, including the prefaces to Couperin's work both in the original French and in English translation, and a glossary of dances of the French baroque.
Catholicism As Musical Discourse
Catholicism as Musical Discourse reveals the important role that French-language sacred songs, written primarily for women, played in the evolution of the Catholic Reform over the long seventeenth century. By singing sacred songs--called cantiques, spiritual or devotional airs--reformers believed that principles of Catholicism would be easier to learn, remember, and affect women's behavior. This book shows that various interpretations of Catholicism were not only transformed over time but also how and why. Most importantly, it demonstrates that sacred songs became a part of the Catholic Church's effort to mediate and shape the role of women in French society.
The Oxford Handbook of Critical Concepts in Music Theory
Music Theory operates with a number of fundamental terms that are rarely explored in detail. This book offers in-depth reflections on key concepts from a range of philosophical and critical approaches that reflect the diversity of the contemporary music theory landscape.
Jean-Baptiste Lully and the Music of the French Baroque
This volume of essays on Jean-Baptiste Lully and his musical legacy honours the distinguished French baroque scholar James R. Anthony. Jean-Baptiste Lully, court composer to Louis XIV, served as the principal architect of what would become known as the French style of music in the baroque era. The style he created strongly influenced the great musical figures in England (Purcell and Handel) and Germany (Bach and Telemann), but Lully's music itself has received little attention. Recently, through the efforts of scholars and musicians concerned with the performance practices of Lully's time, Lully's own music has begun to come alive in performance and recording. These essays, all by important baroque specialists, cover significant aspects of Lully's life and works and the French tradition he influenced. They constitute the first post-war collection of studies centred on Lully and form a fitting tribute to Professor Anthony whose own French baroque music provided a stimulus for the work of an emerging generation of scholars.
