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Romanticisms and nationalisms in Res...

Walton, Benjamin Toby.

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Romanticisms and nationalisms in Restoration France (Gioacchino Rossini, Castil-Blaze, Carl Maria von Weber, Stendhal, Ludovic Vitet).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Romanticisms and nationalisms in Restoration France (Gioacchino Rossini, Castil-Blaze, Carl Maria von Weber, Stendhal, Ludovic Vitet)./
作者:	Walton, Benjamin Toby.
面頁冊數:	334 p.
附註:	Source: Dissertation Abstracts International, Volume: 62-01, Section: A, page: 0024.
Contained By:	Dissertation Abstracts International62-01A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3002309
ISBN:	0493114327

Romanticisms and nationalisms in Restoration France (Gioacchino Rossini, Castil-Blaze, Carl Maria von Weber, Stendhal, Ludovic Vitet).
Walton, Benjamin Toby.

Romanticisms and nationalisms in Restoration France (Gioacchino Rossini, Castil-Blaze, Carl Maria von Weber, Stendhal, Ludovic Vitet). - 334 p.

Source: Dissertation Abstracts International, Volume: 62-01, Section: A, page: 0024.

Thesis (Ph.D.)--University of California, Berkeley, 2000.

This dissertation examines the position of opera in French society during the reign of France's last Bourbon monarch, Charles X (1824--30). I consider the central role that operatic productions played in the wide-reaching contemporary debates over the idea of romanticism, debates which formed an important part of the post-Napoleonic redefinition of French identity. This rewrites received musicological opinion, which places the true beginnings of French musical romanticism only after the 1830 Revolution. Instead, I argue that from as early as 1824, music and romanticism were inextricably intertwined.

ISBN: 0493114327Subjects--Topical Terms:

516178
Music.

Romanticisms and nationalisms in Restoration France (Gioacchino Rossini, Castil-Blaze, Carl Maria von Weber, Stendhal, Ludovic Vitet).
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245 1 0 $a Romanticisms and nationalisms in Restoration France (Gioacchino Rossini, Castil-Blaze, Carl Maria von Weber, Stendhal, Ludovic Vitet).
300 $a 334 p.
500 $a Source: Dissertation Abstracts International, Volume: 62-01, Section: A, page: 0024.
500 $a Chair: Mary Ann Smart.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2000.
520 $a This dissertation examines the position of opera in French society during the reign of France's last Bourbon monarch, Charles X (1824--30). I consider the central role that operatic productions played in the wide-reaching contemporary debates over the idea of romanticism, debates which formed an important part of the post-Napoleonic redefinition of French identity. This rewrites received musicological opinion, which places the true beginnings of French musical romanticism only after the 1830 Revolution. Instead, I argue that from as early as 1824, music and romanticism were inextricably intertwined.
520 $a The period between 1824 and 1830 also encompasses Rossini's Parisian operatic career. I have not, however, produced a comprehensive account of Rossini's operas in Paris. Instead, I offer a history of how music by him and others was used to competing social, cultural and national ends. As a result, the dissertation divides into three sets of paired chapters. The first two are set in a single year, 1825, and together consider the nature of Restoration spectacle, and the ways to hold the interest of a fickle and easily-distracted audience. In Chapter 1, I analyze the coronation of Charles X at Rheims cathedral and its attendant theatrical celebrations, notably the multi-authored Pharamond at the Opera and Rossini's Il viaggio a Reims at the Theatre-Italien. This was considerably less successful than the subject of Chapter 2, Castil-Blaze's notorious (and notoriously misunderstood) arrangement of Weber's Der-Freischutz, performed at the Odeon as Robin des Bois. Chapters 3 and 4 turn to contemporary music criticism, analyzing the aesthetics of musical romanticism outlined by two non-specialist authors: Stendhal, and the lesser-known Ludovic Vitet, critic for the romantic mouthpiece Le Globe. Finally, in my last two chapters I turn directly to the works of Rossini. Chapter 5 considers Le Siege de Corinthe (1826) and the French musical response to the Greek War of Independence, while Chapter 6 looks at Guillaume Tell. This piece, Rossini's final opera, shares with Le Siege the desire to evoke the vicarious pleasures of uncomplicated foreign nationalisms, yet remains shackled to the far more complicated politics of national self-definition within the boundaries of Restoration France.
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