Motive and motif : Méhul before 1791. / Charlton, David.

In: Music and Letters, Vol. 57, 1976, p. 362-69.

Research output: Contribution to journalArticlepeer-review

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Motive and motif : Méhul before 1791. / Charlton, David.

In: Music and Letters, Vol. 57, 1976, p. 362-69.

Research output: Contribution to journalArticlepeer-review

Harvard

Charlton, D 1976, 'Motive and motif: Méhul before 1791', Music and Letters, vol. 57, pp. 362-69.

APA

Charlton, D. (1976). Motive and motif: Méhul before 1791. Music and Letters, 57, 362-69.

Vancouver

Charlton D. Motive and motif: Méhul before 1791. Music and Letters. 1976;57:362-69.

Author

Charlton, David. / Motive and motif : Méhul before 1791. In: Music and Letters. 1976 ; Vol. 57. pp. 362-69.

BibTeX

@article{0c0cb05274474e7693f51aaabffd3723,
title = "Motive and motif: M{\'e}hul before 1791",
abstract = "Examines a specifically French set of responses to the classical processes of symphonic and motivic development typical of the Viennese symphonies that, through Haydn's works, Paris had come to know before the Revolution. M{\'e}hul's motivic procedures in piano sonatas of 1788 are demonstrated, and then the way that such concerns were transferred to the orchestra in opera. The article starts with evidence from 1810 that audiences had become attuned to M{\'e}hul's employment of the orchestra as a 'main character'. In 1790 M{\'e}hul's break-through came in 'Euphrosine', where the duet 'Gardez-vous de la jalousie' uses and develops a motif earlier identified with Coradin's jealousy. Close analysis suggests five different modes of meaning attaching to these procedures.",
keywords = "Paris, eighteenth century, opera, musical motif, development, M{\'e}hul",
author = "David Charlton",
note = "There are eight music examples. This essay was reprinted in the author's 'French Music 1730-1830' (Aldershot: Ashgate, 2000) as Essay VII.",
year = "1976",
language = "English",
volume = "57",
pages = "362--69",
journal = "Music and Letters",
issn = "0027-4224",
publisher = "Oxford University Press",

}

RIS

TY - JOUR

T1 - Motive and motif

T2 - Méhul before 1791

AU - Charlton, David

N1 - There are eight music examples. This essay was reprinted in the author's 'French Music 1730-1830' (Aldershot: Ashgate, 2000) as Essay VII.

PY - 1976

Y1 - 1976

N2 - Examines a specifically French set of responses to the classical processes of symphonic and motivic development typical of the Viennese symphonies that, through Haydn's works, Paris had come to know before the Revolution. Méhul's motivic procedures in piano sonatas of 1788 are demonstrated, and then the way that such concerns were transferred to the orchestra in opera. The article starts with evidence from 1810 that audiences had become attuned to Méhul's employment of the orchestra as a 'main character'. In 1790 Méhul's break-through came in 'Euphrosine', where the duet 'Gardez-vous de la jalousie' uses and develops a motif earlier identified with Coradin's jealousy. Close analysis suggests five different modes of meaning attaching to these procedures.

AB - Examines a specifically French set of responses to the classical processes of symphonic and motivic development typical of the Viennese symphonies that, through Haydn's works, Paris had come to know before the Revolution. Méhul's motivic procedures in piano sonatas of 1788 are demonstrated, and then the way that such concerns were transferred to the orchestra in opera. The article starts with evidence from 1810 that audiences had become attuned to Méhul's employment of the orchestra as a 'main character'. In 1790 Méhul's break-through came in 'Euphrosine', where the duet 'Gardez-vous de la jalousie' uses and develops a motif earlier identified with Coradin's jealousy. Close analysis suggests five different modes of meaning attaching to these procedures.

KW - Paris, eighteenth century, opera, musical motif, development, Méhul

M3 - Article

VL - 57

SP - 362

EP - 369

JO - Music and Letters

JF - Music and Letters

SN - 0027-4224

ER -