Alte Instrumente im Frankreich des 19. Jahrhunderts. Die Rolle des Conservatoire und private Initiativen.
Identifieur interne : 000071 ( Main/Exploration ); précédent : 000070; suivant : 000072Alte Instrumente im Frankreich des 19. Jahrhunderts. Die Rolle des Conservatoire und private Initiativen.
Auteurs : Florence Gétreau [France]Source :
Descripteurs français
- mix :
- Achille Jubinal, Adolphe Le Doulcet comte de Pontécoulant, Adolphe Sax, Amédée Méreaux, Auguste Tolbecque, Barolomeo Bruno, Bernard Sarrette, Charles Davillier, Charles Petit, Charles Sauvageot, Charles-Edmond de Coussemaker, Conservatoire de Paris, Ernest Loup, Eugène de Bricqueville., Felix Vicq d’Azyr, François Brunery, Georges Samary, Horace de Callias, Jules Audéoud, Julien Fau, Louis Clapisson, Louis Diémer, Luigi Cherubini, Luigi Tomasini, Léon Savoye, Musée Instrumental, Nathaniel de Rothschild, Paul Eudel, Pierre Revoil, collections, instruments anciens.
Abstract
Although the practice of early music in France was interrupted for some time between the French Revolution and the end of the 19th century, interest in ancient instruments remains strong during the entire century. The earliest evidence of custodial interest in the monuments of music is provided by the founders of the Conservatoire. Whereas an institutionalized project could be realized only with great difficulty in this framework, numerous amateurs motivated by a diversity of interest began collecting musical instruments. The first collections truly specialized in ancient instruments date from the 1840s. Thanks to the composer Clapisson’s initiative, a first public museum was founded in 1861. Not until the early 1880s though did collectors, restorers, instrument makers and musicians begin to experiment with historical instruments and play early music on a contemporary instrumentarium. Thus arose a new collecting movement laying the way for the great collections and historical ensembles of the 20th century.
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Le document en format XML
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The earliest evidence of custodial interest in the monuments of music is provided by the founders of the Conservatoire. Whereas an institutionalized project could be realized only with great difficulty in this framework, numerous amateurs motivated by a diversity of interest began collecting musical instruments. The first collections truly specialized in ancient instruments date from the 1840s. Thanks to the composer Clapisson’s initiative, a first public museum was founded in 1861. Not until the early 1880s though did collectors, restorers, instrument makers and musicians begin to experiment with historical instruments and play early music on a contemporary instrumentarium. 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