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Interpreting the Musical PastEarly Music in Nineteenth Century France$
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Katharine Ellis

Print publication date: 2008

Print ISBN-13: 9780195365856

Published to Oxford Scholarship Online: September 2008

DOI: 10.1093/acprof:oso/9780195365856.001.0001

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1878–1900

1878–1900

Chapter:
(p.81) 3 1878–1900
Source:
Interpreting the Musical Past
Author(s):

Katharine Ellis

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195365856.003.0003

This chapter continues the exploration of repertorial change, beginning with an examination of the almost entirely masculine virtuoso cult of early organ music, given new impetus by Alexandre Guilmant's Trocadéro concerts from 1878. The contributions of Guilmant and Louis Diémer to Bach organ music and French clavecin music, respectively, are discussed intensively, as is the rise of Bach as a profound, Romantic, Wagnerian, and universally Christian composer. In a largely anticlerical age, religious politics reappear with a discussion of the Chanteurs de Saint-Gervais and the early Schola Cantorum as, in part, moderate ultramontane initiatives aimed at reconciling the differences of pro-Gregorian and pro-Palestrinian clerics. Intensifications of nationalist fervour result in new attempts to rehabilitate la musique française: in addition to Diémer's contribution, a first collected edition of French opera (Michaëlis, 1877-84); and Carpentras, Goudimel, Lassus, and Rameau performances by Charles Bordes and his Chanteurs from 1892. Regionalist imperatives underpin the first modern staging of Adam de la Halle's Jeu de Robin et de Marion, in Arras (1896).

Keywords:   Charles Bordes, Alexandre Guilmant, Louis Diémer, Schola Cantorum, keyboard music, religious politics, Bach, Adam de la Halle

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