This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1920 Excerpt: ...hold which pure music was securing in Paris. But Stendahl had little to fear. A few years later the performances in Paris of Rossini's early operas were increasing the popularity which Italian opera had already regained since the days of the Gluck-Piccinni quarrel. In the twenty years following it seemed to the ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1920 Excerpt: ...hold which pure music was securing in Paris. But Stendahl had little to fear. A few years later the performances in Paris of Rossini's early operas were increasing the popularity which Italian opera had already regained since the days of the Gluck-Piccinni quarrel. In the twenty years following it seemed to the discouraged opponents of the Italian school as if all their efforts to raise the standards of French dramatic music had been in vain. Much later Joseph d'Ortigue in taking up the cudgels for Berlioz' Benvenuto Cellini complained that the popularity of Italian opera had grown in spite of Gluck and that the preferences of the crowd had been little affected by any influence of German concert music. The two men chiefly responsible for the continued success of Italian music in Paris, were Rossini and Meyerbeer. In 1816 // Barbiere di Siviglia was performed at the Salle Louvois. It had had its first Joseph d'Ortigue: L' cole Musicale italienne et de Vadministration de Vacad&mie royale de musique d Voccasion de I'opera de M. H. Berlioz: Paris, 1839. Dedicated to Leon Kreutzer. The second edition in 1840 has on an added title page, du thi&tre italien et de son influence sur le goUt musical francais. performance in Rome three years earlier. In 1823, after the failure of Semiramide in Venice, Rossini went to London where he had an immense artistic and financial success. In 1824 he was appointed director of the Paris Opera and invited to produce his old works and to compose new ones. He rearranged both Maometto II. and Most in Egitto, and gave them at the Opira in 1826 under the names of Le Siige de Corinthe and Mo'ise. To these he added Le Comte d'Ory in 1828 and finally Guillaume Tell in 1829. The production of Guillaume Tell, which overshadowed ...
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Add this copy of Music and the Romantic Movement in France to cart. $63.29, good condition, Sold by Bonita rated 4.0 out of 5 stars, ships from Santa Clarita, CA, UNITED STATES, published 2016 by Palala Press.
