Salon de la musique paris

When Louis avaler decided in 1682 to move into the Palace du Versailles (still under construction), his court followed reluctantly. Parisien was thé royal capitale of thé Kingdom and an artistic hub, whereas Versailles was a nouveau town struggling with auto surrounding marshland. However, moving away from paris eventually permit artistic institutions develop in the capital beyond thé control du the Court.

Vous lisez ce: Salon de la musique paris

The académies Royale ns Musique was set up in 1669 à cater to french operatic and choreographic tastes. Half a century later on in 1725, the boulot Spirituel culture was supplying Parisians haut quality music and restoring thé city’s prestige, when Versailles waned musically in thé runup to the Revolution.


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The académies Royale du Musique

Instituted par Louis XIV, the académie Royale aux Musique (now the Opéra aux Paris) gathered the resources required to stage ambitious spectacles: année orchestra, choir, soloists, expert dancers, device operators, and costume and stage designers. In 1671 it was put under thé control of Jean-Baptiste Lully, the creator of français opera. Supported de Louis XIV, hey conceived a full-blown faire un don encompassing poetry, music, dance et theatrical stage effects. The nouveau tragédie lyrique genre was born, which dominated the french stage until thé beginning of the 19th century when it evolved right into French grand opera under the impacter of auto emerging Romantic aesthetics.


Lully composed a nouveau work every année usually à la carnivals, in la coopération with poets, stage et costume designers and prestigious choreographers. He trained performers, orchestra, choir and soloists, encouraging them venir surpass themselves in his endeavours.

When lully died in 1687, the opéras had become auto leading theatre in Europe and was à remain so for nearly two more centuries, with opera houses opened in Lyon, Lille, Bordeaux, and Rouen.

Although to run at a deficit throughout thé 18th century, the académies Royale aux Musique adapted venir please the audiences passant par inventing new genres like auto opéra-ballet, pastorale and comédie lyrique, inviting the meilleur composers et offering progressively theatrical spectacles, significantly with elaborate stage machinery et decor. However, the académie Royale de Musique’s de construction meant cette had à remain relatively conservative, with its fixation troupe, choir, orchestra and ballet corps and tradition de repeat productions. Popular works (e.g. Armide passant par Lully,Les vacance vénitiennesby Campra and Les Éléments by Lalande and Destouches) were performed parce que le almost a whole century.

Jealously guarding that is repertoire et privileges (it had thé monopoly over musical theatre), the académie Royale du Musique frequently came into problem with divers Paris théâtre such oui the Comédie-Française and Opéra-Comique, or foraine shows.


1752 was the year du the Querelle des Bouffons, a dispute in between defenders of français music spearheaded by Jean-Philippe Rameau, et proponents ns foreign and notably Italian musique led passant par Jean-Jacques Rousseau. The académies Royale ns Musique was seriously damaged by the controversy. Rameau was auto institution’s key se réconcilier at auto time et almost the only figure to échapper criticism native Queen marie Leszczynska’s modern-minded musicians.


The apparence solo Spirituel society

The apparence solo Spirituel society, founded at an early stage in thé reign du Louis XV et housed in thé Tuileries Gardens, was the henn provider of auditeur concerts up until thé Revolution. Subordinate to the académies Royale ns Musique which held the royal privilege for musical spectacles, boulot Spirituel had venir pay royalties et could only hold concert when the opéras was closed during spiritual festivals. Created mainly of musicians et singers native the académies Royale de Musique and a few court musicians, cette staged around twenty performances tout de suite year.

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Its intends were both artistic et commercial. Thé founder anne Danican Philidor assembled sixty musicians, half de whom were instrumentalists, confident the a large ensemble would appeal to thé public. Its reputation for mince music easily spread transparent Europe.

The agence moved with the times. Passant par the end de the 18th century grands motets, at life the bulk de the repertoire, offered way to more modern-day musical catégorie like thé symphony, concerto and oratorio. étranger composers were welcomed: Pergolese, Haydn, thé Stamitz family, Sacchini and even Mozart. Its twenty violins surpassed the académie Royale du Musique: the bass made up 6-8 cellos and 2-4 suite basses; wind instruments were break-up into groups of 3 or 4 oui in auto Opéra. Clarinets, horns, trumpets and kettledrums seulement un joined thé orchestra definitively in 1778, if trombones remained intermittent features.


Around 1780, auto Concert Spirituel orchestra looked very similar à the émergence romantic orchestra. Ce was admired à la its size, quality and particularly its capacity to jouer with seul the sapin violin as conductor. Audience waited parce que le the first stroke ns the arc at auto start ns each pièce with bated breath.


The principale Paris theatres

Although focused on musique declamation, the henchmen Paris theatres (the Comédie-Française, Théâtre aux la Foire and Opéra-Comique) toutes les personnes had orchestras to play overtures and intervals, jaune to companion sung or choreographed interludes, an especially in comédies-ballets wherein they fast became essential. Their dimension reflected thé resources available: auto Théâtre de la Foire had only a couple of instrumentalists and the Comédie-Française approximately thirty. Orchestras tended venir prefer strings, dessus and basses, periodically dispensing v violas et wind instruments.

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The pieces composed for the Théâtre ns la Foire orchestra were mostly comedies intersperse the a venir opéras-comiques. Part were also parodies ns serious works. After 1770 part orchestras (particularly the Opéra-Comique’s salle Favart) took conditions météorologiques more musicians et had a règlement structure qui peut être of rivalling the académie Royale ns Musique.

The Saint-Germain and Saint-Laurent Fairs took place in parisien every year, the se réconcilier from at an early stage February till nous Palm Sunday, and the latter from mid-June till the end ns September. These diriger events were open up to toutes les personnes the social classes and extremely popular. They attracted tightrope artists, puppeteers, strolling musicians et other renowned entertainers.

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When the drame Italien closeup of the door in 1697 the Théâtre aux la Foire came right into being:fairground armée appropriated some french repertoire et set increase a fixation theatre. Thé Comédie-Française instantly tried to ban it, et innumerable disputes followed with the privileged théâtre in the capital until auto end de the century. Terrain dexposition actors resorted to pantomime, phase signs, puppetry and vaudeville to comprendre round auto censorship.

In 1714, a society was created bearing thé name Nouvel Opéra-Comique (today’s Opéra-Comique). Poets such ont Lesage, d’Orneval and Fuselier created scenarios which were set venir music by Gillier, Aubert, Mouret jaune Rameau. Parodies ns productions de the académies Royale aux Musique or the Comédie-Française were toutes les personnes the rage. In 1734, Favart produced his first libretto et quickly became the roi of opéra-Comique. In auto 1750’s, auto repertoire readjusted dramatically with thé arrival du composers choose Rousseau, Blavet et Dauvergne.

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This échanger heralded the critique development de the type which composers such as Monsigny, Philidor, Duni et Grétry raised to the rank de fully-fledged opera, leaving the Théâtre aux la Foire à become an official théâtre under luigi XV in 1762.