Requiem (Messe des morts)

10.31022/b047 ◽  
1984 ◽  
Author(s):  
Jean Gilles
Keyword(s):  
Eighteenth Century ◽  
Systematic Study ◽  
Critical Edition ◽  
Turn Of The Century ◽  
Louis Xv ◽  
Concert Spirituel

Gilles's Requiem, composed around the turn of the century, became one of the most frequently performed sacred compositions in eighteenth-century France. Included often on the programs of the Concert Spirituel and employed at services for well-known musicians and noblemen (including Rameau and Louis XV), Gilles's work enjoyed a fame eclipsing that of all other French settings of the Requiem before Berlioz. This first critical edition is based on the earliest known copy, in conjunction with the systematic study of four other manuscripts.

‹ Rococo › : du jargon à la catégorie de style

2017 ◽  
Vol 80 (4) ◽  
pp. 474-487
Author(s):  
Marie-Pauline Martin
Keyword(s):  
Eighteenth Century ◽  
The Enlightenment ◽  
History Of ◽  
Louis Xvi ◽  
Definition Of ◽  
Louis Xv ◽  
Objective Existence

Abstract Today there is a consensus on the definition of the term ‘rococo’: it designates a style both particular and homogeneous, artistically related to the reigns of Louis XV and Louis XVI. But we must not forget that in its primitive formulations, the rococo has no objective existence. As a witty, sneering, and impertinent word, it can adapt itself to the most varied discourses and needs, far beyond references to the eighteenth century. Its malleability guarantees its sparkling success in different languages, but also its highly contradictory uses. By tracing the genealogy of the word ‘rococo’, this article will show that the association of the term with the century of Louis XV is a form of historical discrimination that still prevails widely in the history of the art of the Enlightenment.

scholarly journals Migration Systems in Southern Portugal: Regional and Transatlantic Circuits of Labor Migration in the Algarve (Eighteenth–Twentieth Centuries)

2000 ◽  
Vol 45 (2) ◽  
pp. 171-208 ◽  
Author(s):  
Marcelo J. Borges
Keyword(s):  
Eighteenth Century ◽  
Internal Migration ◽  
Labor Migration ◽  
Systems Approach ◽  
Turn Of The Century ◽  
Northern Europe ◽  
Southern Portugal ◽  
And Migration ◽  
Migration Systems ◽  
Over Time

This article applies a systems approach to the analysis of multiple circuits of labor migration that emerged in the Algarve, southern Portugal, from the late eighteenth century to the mid 1900s, and their connections. Over time Algarvian migrants participated in three main systems of migration: internal migration and migration to southern Spain and Gibraltar, transatlantic migration to the Americas and Africa – especially to Argentina – and migration to northern Europe. Rather than an abrupt break with a sedentary past, the article shows how the beginnings of transatlantic migration at the turn of the century were the result of modification and adaptation of existing strategies of labor migration.

The ‘Hindostannie Air’: English Attempts to Understand Indian Music in the Late Eighteenth Century

1994 ◽  
Vol 119 (2) ◽  
pp. 189-211 ◽  
Author(s):  
Ian Woodfield
Keyword(s):  
Eighteenth Century ◽  
Small Group ◽  
Turn Of The Century ◽  
Indian Culture ◽  
Professional Musicians ◽  
Short Piece ◽  
Time Signature ◽  
Indian Music ◽  
Anglo Indian ◽  
English Culture

A ‘hindostannie air‘ may be defined as a short piece derived from an Indian original but arranged in a European idiom. The genre came to prominence among the English inhabitants of Calcutta during the 1780s and 1790s. A small group of women, reflecting the currently fashionable interest in anything oriental, began to employ professional musicians to ‘collect’ Indian songs – that is, to notate them as best they could from the performances of leading Indian singers. Once the melodies had been transcribed, they were arranged as solo keyboard pieces or as songs, a process which necessitated the use of a key signature, a time signature and a harmonization in a European idiom. At the height of the fashion, pieces were performed regularly at the fashionable soirées of Calcutta society, often to great applause, with the singers sometimes adopting Indian dress to add to the ‘authenticity’ of the presentation. At the same time the repertory began to attract the attention of the small group of orientalists led by Sir William Jones, who were engaged in the first serious European attempt to understand the principles that lay behind Indian music. By the turn of the century, with Anglo-Indian attitudes to Indian culture becoming steadily more hostile, the genre began to decline in popularity, but it was then taken up by scholars in England. ‘Hindostannie’ specimens from collections brought back from India provided important material for the compilations of national airs published by Crotch, Jones and others. Having thus established a small but distinctive niche in popular English culture as exotic imports, Indian tunes of one kind or another continued to appear throughout the nineteenth century.

scholarly journals Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century

1997 ◽  
Vol 50 (2-3) ◽  
pp. 387-420 ◽  
Author(s):  
Mark Evan Bonds
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Instrumental Music ◽  
Turn Of The Century ◽  
Work Of Art ◽  
New Approach ◽  
Musical Thought ◽  
Absolute Music ◽  
The Arts ◽  
Aesthetic Principle

The growing aesthetic prestige of instrumental music in the last decades of the eighteenth century was driven not so much by changes in the musical repertory as by the resurgence of idealism as an aesthetic principle applicable to all the arts. This new outlook, as articulated by such writers as Winckelmann, Moritz, Kant, Schiller, Herder, Fichte, and Schelling, posited the work of art as a reflection of an abstract ideal, rather than as a means by which a beholder could be moved. Through idealism, the work of art became a vehicle by which to sense the realm of the spiritual and the infinite, and the inherently abstract nature of instrumental music allowed this art to offer a particularly powerful glimpse of that realm. Idealism thus provided the essential framework for the revaluation of instrumental music in the writings of Wackenroder, Tieck, E. T. A. Hoffmann, and others around the turn of the century. While this new approach to instrumental music has certain points of similarity with the later concept of "absolute" music, it is significant that Eduard Hanslick expunged several key passages advocating idealist thought when he revised both the first and second editions of his treatise Vom Musikalisch-Schönen. The concept of "absolute" music, although real enough in the mid-nineteenth century, is fundamentally anachronistic when applied to the musical thought and works of the decades around 1800.

Monarchy

2014 ◽  
Author(s):  
Joël Félix
Keyword(s):  
Eighteenth Century ◽  
Public Opinion ◽  
Modern World ◽  
Reform Initiatives ◽  
Old Regime ◽  
Political Crises ◽  
The Social ◽  
Major Reform ◽  
Louis Xvi ◽  
Louis Xv

This chapter examines the social and political structures of the absolute monarchy. It explores the extent to which tensions and conflicts in the mid-eighteenth century, in particular disputes between government and parlements, divided the elites over reform and policy, and opened up the realm of politics to public opinion. Reviewing the fate of major reform initiatives through the reigns of both Louis XV and his grandson Louis XVI, it argues that political crises paralysed the ability of royal institutions to enforce authority and generate consensus, thus making the transition from the old regime to the modern world necessary and inevitable.

Chapter Eight The Evolution and Dissemination of Historical Knowledge

2005 ◽  
Author(s):  
Michael Bentley
Keyword(s):  
Eighteenth Century ◽  
Turn Of The Century ◽  
English Civil War ◽  
Glorious Revolution ◽  
Historical Knowledge ◽  
English History ◽  
Norman Conquest ◽  
Victorian Britain ◽  
Parliamentary History ◽  
The Glorious Revolution

This chapter discusses the nature and development of historical knowledge and understanding in Victorian Britain. It describes the pervasive tendencies within the period as a whole with respect to what needed to be taught and learned. Historians preserved an eighteenth-century tradition throughout the 1820s — the parliamentary history and Catholic vision of English history from the Romans to the Glorious Revolution. Narratives concentrated on the Norman conquest, Magna Carta, the reign of Henry VII, the seventeenth-century constitution, the English Civil War and the apotheosis of whiggery in the eighteenth century. Later versions faltered in face of the need to demonstrate deeper knowledge of events and a denser narrative texture. Thereafter, histories of England, written in the grand manner and across many centuries, petered out until after the turn of the century, and prompted treatments of more modern periods.

“With the Tatar Barbarism of Batu:” References to History in Russian Works Concerning Napoleon’s Campaign, 1812–1814

2019 ◽  
Vol 46 (2-3) ◽  
pp. 125-151 ◽  
Author(s):  
Kati Parppei
Keyword(s):  
Eighteenth Century ◽  
Turning Point ◽  
Turn Of The Century ◽  
European Russia ◽  
The Way ◽  
Dividing Line

The invasion of Napoleon’s troops all the way to Moscow in 1812 has been seen as a turning point that accelerated the development of nationalistic thinking in Russia, already burgeoning at the turn of the century. Depictions of the invasion, produced from 1812–1814 indicate that perceptions of the collective past were in a state of both fermentation and formation, together with questions of Russia’s geopolitical position. The authors were leaning simultaneously on the eighteenth-century image of enlightened, imperial and European Russia, and the medieval ideas of religion as the dividing line between “us” and “them.”

The Spa: Emotional Economy and Social Classes in Nineteenth-Century Pyrmont

2002 ◽  
Vol 35 (1) ◽  
pp. 37-73 ◽  
Author(s):  
Heikki Lempa
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Central Europe ◽  
Turn Of The Century ◽  
Social Classes ◽  
Mineral Springs ◽  
Mineral Spring ◽  
German Speaking

In 1835, Ferdinand Gustav Kühne, a Saxon writer and teacher, estimated that the Germanic realm was inundated with spas and that nowhere else were there as many as in Central Europe. In France there were “only ten springs, in Italy eight, Hungary had twelve, Sweden three, Spain two, England two, in Denmark and in vast Russia there was only one mineral spring of note in each, whereas in German-speaking countries, that is, including Bohemia and Switzerland, 149 facilities claimed to possess healing springs.” Although Kühne's estimate of foreign spas was too low—according to recent studies, the number of spas in England and France was significantly higher—contemporary accounts and recent local studies support his finding that Germans had the most bathing facilities in Europe. Fred Kaspar has isolated ninety-nine spas and mineral springs in Westphalia alone. Beginning in the last third of the eighteenth century, the number of spas and spa goers in particular increased rapidly in the Germanic realm. Only 200 guests came to the Kissingen spa in the summer of 1800, whereas fifty years later there were close to 4,000 and by the turn of the century 15,000 guests proper and more than 20,000 day visitors. Pyrmont, one of the most popular spas in the eighteenth century, started with 1,424 guests proper (not including peasants who were not considered guests proper) reaching 2,800 guests by the middle of the century, and around 19,000 by 1900.

scholarly journals A Social, Literary and Musical Study of Julie Pinel's Nouveau Recueil d'Airs Serieux et a Boire (Paris, 1737)

2021 ◽  
Author(s):  
◽  
Corisha Brain
Keyword(s):  
Eighteenth Century ◽  
Critical Edition ◽  
Binary Form ◽  
Professional Society ◽  
Poetic Voice ◽  
Current Trends ◽  
The Social

<p>This thesis discusses the life and work of the eighteenth-century French composer, Julie Pinel. Pinel's extant music comprises one collection of music, Nouveau recueil d'airs serieux et a boire a une et deux voix, de Brunettes a 2 dessus, scene pastorale, et cantatille avec accompagnement, published in 1737, of which a critical edition has been produced in volume II of this thesis. There is little information regarding Pinel's life and work, however, the preface and privilege included in her Nouveau recueil provide some clues as to Pinel's biography. Her life and music are examined, with reference to the social, literary and musical environment she was working in. An added dimension is that Pinel was working as a professional musicienne at a time when women were beginning to find their voice and place in professional society. Pinel claims authorship of the majority of the poems in her collection, and the rest come from anonymous sources. Pinel's literary and musical output illustrates her obvious knowledge of the current trends in eighteenth-century France, with most of her poetry written for a female poetic voice, displaying many of the fashionable themes of the day. Her music displays a variety of styles, ranging from simple airs in binary form, traditionally found in most French airs serieux et a boire, to the operatic, and the fashionable rococo styles.</p>

Of Secrets and Supper Parties

2017 ◽  
Author(s):  
Julian Swann
Keyword(s):  
Eighteenth Century ◽  
The Political ◽  
The Sun ◽  
Political Crises ◽  
Changing Patterns ◽  
Louis Xv ◽  
As If

The court of Louis XV has been depicted as if it was a dusty museum, re-enacting the rituals and ceremonies of the Sun King, but without any vitality as cultural pre-eminence passed to Paris. Using the perspective of disgrace, this chapter takes a fresh look at the court in the eighteenth century, and argues that Louis XV showed dexterity in managing his court using intermediaries and access to his person in intimate settings such as his famous supper parties. Versailles was not immune to change, and in the course of the king’s reign the court experienced a form of ‘politicization’ resulting from changing patterns of ministerial recruitment and the influence of the political crises in the parlements. The infamous Revolution of 1771 demonstrates how Louis XV used his power to divide the opposition to his policies and to uphold his position as the head of the House of Bourbon.

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