By Timothy Flynn
A key determine in constructing an identifiable French musical type within the 19th century, this annotated biliography catalogs the stories of Saint-Saens' existence and works in addition to interpreting the composer's personal correspondence and essays. incorporated are many lesser-known writings at the composer and his tune, in addition to fresh scholarship which re-examines his position in song background.
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Additional info for Camille Saint-Saens: A Guide to Research (Routledge Musical Bibliographies)
All articles are in French, each with its own valuable bibliography. Two indices follow: one of names cited throughout the essays, and another of specific compositions mentioned. 17. Ellis, Katherine. Music Criticism in Nineteenth-Century France: “La Revue et Gazette Musicale de Paris” 1834–80. Cambridge: Cambridge University Press, 1995. 301 p. ISBN 021454433. ” Pertinent topics which receive treatment are specialty periodicals; early music (along with performance practices and editions); Austro-German music and its reception; and various genres of contemporary music (opera, piano music, chamber and symphonic music, and the music of the future).
535 p. ISBN 2051005427. This monograph was originally the author’s dissertation for the Doctor of Letters from the Sorbonne in 1982, written under the guidance of such distinguished scholars as Joseph-Marc Bailbé, Danièle Pistone, and Serge Gut. It is divided into two main sections. ), as well as a general description of the periodic press during the time in question. In the third chapter, the author investigates the responsibility of the critic and looks for individual criteria and methodology.
20. Fauré, Michel. Musique et société du Second Empire aux années vingt autour de Saint-Saëns, Fauré, Debussy et Ravel. Paris: Flammarion, 1985. 424 p. ISBN SELECTED GENERAL SOURCES 23 2080646508. The author examines the music and world surrounding Saint-Saëns, Fauré, Ravel, and Debussy. ” Their music, therefore, reflects the mentality of their company, and are the products of their ideologies: their “secret agents” according to the author. ” The author divides his monograph into three books. The first is entitled “La société et les compositeurs,” which addresses artistic careers, the interior personalities of the composers in question and their aesthetics and ideologies.