By Henry Fothergill Chorley

ISBN-10: 1108001890

ISBN-13: 9781108001892

Henry Fothergill Chorley was once track critic of The Athenaeum for over thirty years. This three-volume ebook, released in 1841, originated in a magazine written by means of Chorley whereas traveling in Europe. His goal used to be to 'illustrate the current kingdom of theatrical, orchestral, and chamber tune abroad', concentrating on facets that will be least popular to an English readership. There are specific debts of Paris and Berlin, with prominence given to opera, theatre, paintings galleries and monuments. Chorley additionally describes visits to Brunswick, Leipzig, Dresden and Nuremburg, and performances through artists together with Mendelssohn and Liszt. He intersperses anecdotes approximately shipping, accommodations, landscapes and native customs. Chorley's incisive and wonderful eyewitness debts will fascinate music-lovers and theatre historians, in addition to others attracted to the acting arts or go back and forth writing within the nineteenth-century. quantity 1 describes his visits to Paris and Brunswick, targeting opera.

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Additional info for Music and Manners in France and Germany, Volume 1: A Series of Travelling Sketches of Art and Society

Sample text

Nor has vocal music been without its priestesses of note and ambition. A hundred and fifty years ago, Madame Laguerre* had made herself so * This virtuosa must not be confounded with Mademoiselle Laguerre the singer, who flourished at a much later period ; and who, for her gross tastes and disgraceful habits, could only be called a chanteuse, not a cantatrice of L'Academie Royale, if the old French distinction were kept up, which made the first word a reproach, and the second a title of honour.

G. — I think, my lord, we have improved on the Italians. " The Modern Husband^ Act II, Sc. 5. THE DROP-CURTAIN. 35 exercised in the choice of its subjects; probability to be required in their conduct: strange care ! — strange probability ! — when the classicism of the times, satisfied if Olympus and Parnassus were dealt with, was not shocked to encounter Juno in a hoop, Vulcan in a powdered wig, and Mercury in pearl-coloured satin breeches, his caduceus daintily garlanded with roses. The same protection of court favour and literary sympathy did not forsake the Opera even in the corrupt days of Louis Quinze.

The Half-hour before the Spectacle. —First beginnings of French Opera. — Charles the Ninth's Charter and Reglement. — Bai'f, a Diplomatist and Poet. — The Poet's Predominance in the early Days of the lyrical Drama; — obliged to yield to Melody in Italy ; to Harmony in Germany. — French Esprit and Court Favour; in part determining the Character of French Opera. — Louis Quatorze. — The Marquis de Sourdeac. — Lalande. — Lulli. — Moliere. — The Opera under Louis Quinze. "— Voltaire and Rameau. — The " Clavecin Oadaire " of Pere Castel.

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Music and Manners in France and Germany, Volume 1: A Series of Travelling Sketches of Art and Society by Henry Fothergill Chorley

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