Book contents
- Frontmatter
- Contents
- Acknowledgements
- List of abbreviations
- Introduction
- 1 Crosscurrents in early nineteenth-century criticism
- 2 The rise of the specialist press from 1827
- 3 Early music
- 4 The Austro-German tradition I: The reception of Gluck, Haydn and Mozart
- 5 The Austro-German tradition II: The reception of Beethoven
- 6 The Austro-German tradition III: Weber, Schubert and Mendelssohn
- 7 Contemporary music I: Piano music
- 8 Contemporary music II: Chamber and symphonic music
- 9 Contemporary music III: Opera
- 10 Contemporary music IV: The music of the future
- 11 Contemporary music V: Berlioz
- Conclusion
- Appendix 1 Principal contributors to the Gazette
- Appendix 2 Personalia
- Appendix 3 Contes, nouvelles, dialogues and other short literature in Schlesinger's Gazette musicale, 1834–46
- Appendix 4 Publishing history of the Gazette
- Appendix 5 Pseudonyms and attributions
- Bibliography
- Index of musical works cited
- General index
3 - Early music
Published online by Cambridge University Press: 22 September 2009
- Frontmatter
- Contents
- Acknowledgements
- List of abbreviations
- Introduction
- 1 Crosscurrents in early nineteenth-century criticism
- 2 The rise of the specialist press from 1827
- 3 Early music
- 4 The Austro-German tradition I: The reception of Gluck, Haydn and Mozart
- 5 The Austro-German tradition II: The reception of Beethoven
- 6 The Austro-German tradition III: Weber, Schubert and Mendelssohn
- 7 Contemporary music I: Piano music
- 8 Contemporary music II: Chamber and symphonic music
- 9 Contemporary music III: Opera
- 10 Contemporary music IV: The music of the future
- 11 Contemporary music V: Berlioz
- Conclusion
- Appendix 1 Principal contributors to the Gazette
- Appendix 2 Personalia
- Appendix 3 Contes, nouvelles, dialogues and other short literature in Schlesinger's Gazette musicale, 1834–46
- Appendix 4 Publishing history of the Gazette
- Appendix 5 Pseudonyms and attributions
- Bibliography
- Index of musical works cited
- General index
Summary
Schlesinger's original distancing of the Gazette's tenor from that of the Revue meant that his journal tended to neglect early music in favour of the living repertory. In the months leading to the merger, one of the journal's staff had referred scathingly to Fétis's unsuccessful series of ‘concerts historiques’ as an ‘abortive musical speculation’ (unsigned II/16: 19 Apr. 1835, 139). However, once Fétis was on board, Schlesinger was too shrewd not to change tack and utilise fully the talents of the most distinguished Francophone critic-historian of the time. Thus, instead of attacking Fétis's endeavours, in April 1836 he acknowledged that the journal had hitherto neglected the discussion of early music. He proposed to set up a forum for discussion:
The Retrospective Review which the director of the Gazette musicale plans to start this year, will, as far as possible, attempt to compensate for that institution so dreamed-of and clamoured for to no avail by the friends of the art, in which the fine products of the centuries would be played each year in such a way as to present the great musicians of past centuries with the utmost fidelity, or, rather, exhibit them, as are exhibited Raphael, Corrége, Titian, Rubens and Rembrandt at the Louvre. (III/14: 3 Apr. 1836, 106)
- Type
- Chapter
- Information
- Music Criticism in Nineteenth-Century FranceLa Revue et gazette musicale de Paris 1834–80, pp. 56 - 76Publisher: Cambridge University PressPrint publication year: 1995