1789 à la Bibliothèque du Roi

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Date

1988

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Copyright PERSEE 2003-2023. Works reproduced on the PERSEE website are protected by the general rules of the Code of Intellectual Property. For strictly private, scientific or teaching purposes excluding all commercial use, reproduction and communication to the public of this document is permitted on condition that its origin and copyright are clearly mentionned.


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Françoise Bléchet, « 1789 à la Bibliothèque du Roi », Dix-Huitième Siècle, ID : 10.3406/dhs.1988.2863


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Nothing in the musical scene in 1789 foreshadowed the coming upheaval. All the programmes for both opera and concerts continued the tradition dating from the 1770s. The favourite French composers were all at the height of long and glorious careers, and their successors were as yet hardly emerging or were still children. This period saw the beginning of the music-lovers'long preference for Italian composers, who triumphed on the stage, in the concert-hall and in amateur circles. The quarrel between French and Italian music, which had marked the whole century, was finally over ; the majority, «the Public », had overridden the philosophes' diatribes. 1789 was for the French, united in their admiration for Italian music, a year of consensus, which was to be only briefly disturbed by the needs of revolutionary propaganda.

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