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pasdeloup

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Journal Articles
19th-Century Music. 2017; 4113–30 doi: https://doi.org/10.1525/ncm.2017.41.1.3
Published: 01 July 2017
... discourse in French around them. This may be set against a continuing tradition of performing extracts of Wagner's operas throughout the 1860s, largely through the energies of Jules Pasdeloup, who—as director of the Théâtre-Lyrique—was responsible for the 1869 Rienzi as well. These competing threads in the...
Journal Articles
19th-Century Music. 2018; 42296–122 doi: https://doi.org/10.1525/ncm.2018.42.2.96
Published: 04 December 2018
... under Jules Pasdeloup at the Concerts-Populaires, 24 March 1867. 9La grand tante, opéra-comique (one act), with a libretto by Jules Adenis, had its premiere at the Opéra-Comique (Paris) on 4 April 1867. Supported by Ambroise Thomas, Massenet benefited from a clause in the theater s contract with the...
Journal Articles
19th-Century Music. 2017; 41148–74 doi: https://doi.org/10.1525/ncm.2017.41.1.48
Published: 01 July 2017
... original version of Viviane was premiered by the Société nationale de musique under the direction of Édouard Colonne in March 1883, and performed by Jules Pasdeloup s Concerts Populaires the following year. For a representa- tive sampling of reviews, see Fracasse [Edmond Stoullig], Échos de Théatres, Le...
Journal Articles
19th-Century Music. 2013; 37156–88 doi: https://doi.org/10.1525/ncm.2013.37.3.56
Published: 01 July 2013
... critic for La Renaissance musicale in 1882 83 that he broke into print. He wore Wag- nerian colors on his sleeve early on. At perfor- mances of Wagner extracts by Pasdeloup and Colonne he applauded noisily, while others booed, 7 and after a Munich Tristan in summer 1883 he characteristically collapsed...
Journal Articles
19th-Century Music. 2013; 37156–88 doi: https://doi.org/10.1525/ncm.2013.37.1.56
Published: 01 July 2013
... critic for La Renaissance musicale in 1882 83 that he broke into print. He wore Wag- nerian colors on his sleeve early on. At perfor- mances of Wagner extracts by Pasdeloup and Colonne he applauded noisily, while others booed, 7 and after a Munich Tristan in summer 1883 he characteristically collapsed...
Journal Articles
19th-Century Music. 2007; 303230–256 doi: https://doi.org/10.1525/ncm.2007.30.3.230
Published: 01 March 2007
...-Saëns Timbre d argent at the Théâtre-lyrique in 1877. During this period, he also worked as choral conductor for the Concerts Pasdeloup in 1874. Beginning in 1875, he held the same position for the Con- certs Colonne, where he also competed, albeit unsuccess- fully, to become the assistant conductor of...
Journal Articles
19th-Century Music. 2001; 243225–251 doi: https://doi.org/10.1525/ncm.2001.24.3.225
Published: 01 March 2001
... motivation for founding the Société Nationale, one must consider the intel- lectual climate that shaped these young musi- cians, turned them from the path of easy success 3Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, trans. Roger Nichols (Cambridge, 1991), p. 20. 4Elisabeth Bernard, Jules Pasdeloup...
Journal Articles
19th-Century Music. 1998; 222190–209 doi: https://doi.org/10.2307/746857
Published: 01 October 1998
... always) use the fu- ture tense when naming the conductors ("L'orchestre sera conduit par M. Pasdeloup, et les choeurs seront conduits par M. Batiste"22), while reviews recounting these same events use the past tense. The frequency with which choruses were placed behind the chef d'orchestre, combined with...
Journal Articles
19th-Century Music. 1983; 72104–106 doi: https://doi.org/10.2307/746340
Published: 01 October 1983
... exploring: some ten years before I had learned from Mme Besson, a staff member there, that the archive included documentation on the career of Pasde- loup. In fact, there is a dossier for Pasdeloup at the Archives of the Louvre, but only because he had been regisseur of the Chateau de Saint- Cloud, and thus...
Journal Articles
19th-Century Music. 1981; 43746705 doi: https://doi.org/10.2307/746705
Published: 01 April 1981
...: PASDELOUP, COLONNE, LAMOUREUX [The Symphonic Concert in Paris from 1861 to 1914: Pasdeloup, Colonne, Lamoureux]. By Elisabeth Bernard. V. LES TABLES DE LA REVUE ET GAZETTE MUSICALE DE PARIS (R6impression) [The Annual Indexes of the Revue et Gazette Musicale de Paris (Reprinted in a single volume With an...
Journal Articles
19th-Century Music. 1981; 52746407 doi: https://doi.org/10.2307/746407
Published: 01 October 1981
... 1914: PASDELOUP, COLONNE, LAMOUREUX [The Symphonic Concert in Paris from 1861 to 1914: Pasdeloup, Colonne, Lamoureux]. By Elisabeth Bernard. V. LES TABLES DE LA REVUE ET GAZETTE MUSICALE DE PARIS (Reimpression) [The Annual Indexes of the Revue et Gazette Musicale de Paris (Reprinted in a single volume...
Journal Articles
19th-Century Music. 1981; 5124–37 doi: https://doi.org/10.2307/746557
Published: 01 July 1981
... already assumed in his life in a description of one of Pasdeloup's Concerts populaires which he attended at the Cirque d'Hiver in 1876: In order to hear this concert, I somehow managed to "jump over the wall" of the College Stanislas, where I was a studnet in the twelfth grade. In truth, it was not...
Journal Articles
19th-Century Music. 1977; 1171–84 doi: https://doi.org/10.2307/746771
Published: 01 July 1977
Journal Articles
19th-Century Music. 1977; 1162–70 doi: https://doi.org/10.2307/746770
Published: 01 July 1977
... retranslated for improvement.3 Wagner suffered over the French translation of Tannhduser, but in general he seems to have been pleased to have Pasdeloup, Boito, and the rest involved with foreign pro- ductions in foreign languages as long as his own fee was high enough. While he apparently dis- liked one of...