The ‘Cabale du Dauphin’, Campra, and Italian Comedy: The Courtly Politics of French Musical Patronage around 1700
Identifieur interne : 000625 ( Main/Exploration ); précédent : 000624; suivant : 000626The ‘Cabale du Dauphin’, Campra, and Italian Comedy: The Courtly Politics of French Musical Patronage around 1700
Auteurs : Don FaderSource :
- Music and Letters [ 0027-4224 ] ; 2005-08.
English descriptors
- Teeft :
- Airs, Airs italiens, American musicological society, Andr, Aria, Aristocratic desire, Artistic activities, Artistic interests, Artistic life, Artistic patronage, Bastard children, Bodemann, Bourgogne, Briefen, Cabale, Campra, Capo aria, Cardinal mazarin, Carnaval, Carnival celebrations, Carnival entertainments, Carnival folie, Carnival season, Central role, Cercar ventura, Chansonnier maurepas, Chartres, Colasse, Command performances, Commedia, Commedia characters, Comte, Conty, Conty philippe, Cour, Court activities, Court ballets, Court entertainment, Court entertainments, Court hierarchy, Court life, Court society, Courtier, Courtly, Courtly politics, Cultural life, Cultural politics, Dancourt, Dangeau, Dangeau reports, Danican philidor, Dauphin, Divertissement, Duchesse, Favour, Favourite, February, Feste galante, Financial support, First time, Francine, French music, French style, Galante, Georgia cowart, Good example, Grand dauphin, Grand turk, Great prince, Herzogin elisabeth charlotte, Important role, Impromptu donn, Indirect influence, Influential patrons, Italian airs, Italian comedians, Italian comedy, Italian music, Italian style, Jean nicolas francine, Jeune posterit, July, June, Lalande, Lande, Large monkeys, Libertine life, Little interest, Livry, Long time, Louis attempts, Louis ladvocat, Louis tastes, Lully, Madame duchesse, Maintenon, Marly, Marquis, Mascarade, Mascarades, Maurice andr, Mercure, Mercure galant, Mercure historique, Meudon, Monseigneur, More italianate, Motet, Musical cabale, Musical culture, Musical education, Musical entertainments, Musical events, Musical interests, Musical life, Musical patronage, Musical style, Musical tastes, Musique, Musique italienne, Naive beauties, Norbert elias, Other hand, Other members, Other things, Paris journal, Particular individuals, Particular mascarade, Patron, Patronage, Philidor, Philidor ordinaire, Philippe, Political patron, Political patronage, Prince camille, Princely members, Princesse, Prologue, Public ball, Quelques italiennes, Royal chapel, Royal court, Royal entertainments, Royal family, Royal patronage, Royale, Sacred music, Saggio cuore, Same elements, Same time, Same year, Secular music, Several days, Several occasions, Single divertissement, Small monkey, Soulagements passagers, Sourches, Stage works, Such entertainments, Sully, Toulouse, Venise, Versailles, Village philidor, Young people.
Abstract
For George J. Buelow Beginning in the late 1680s, opposition to the conservative cultural politics of Louis XIV coalesced in an influential court clique around Louis XIV’s son, Louis (1661–1711). In contrast to the king’s anti-theatrical moralizing and heritage of supporting classicism, the Dauphin and his cabale embraced aspects of the arts that Louis XIV had rejected: the Comédie-Italienne, Italian music, and the operas of André Campra. The Dauphin not only supported the Opéra and encouraged Louis XIV to reinstitute the Comédie-Italienne, but his cabale also staged entertainments at court in which commedia dell’arte and Italian music featured. The group’s support for Campra during the early phase of his operatic career is reflected by three fêtes commissioned from him in 1697–8 by nobles seeking to cultivate members of the cabale as political patrons. The Dauphin’s importance as a protector of the theatre was publicly acknowledged in the prologue to Campra’s Le Carnaval de Venise (1699) and in other works of the period. The activities of the cabale and its extended political clientele thus played a significant role in the French fad for Italian music and comedy of the late 1690s, and demonstrate the influence of courtly politics in the musical life of the era.
Url:
DOI: 10.1093/ml/gci069
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Buelow Beginning in the late 1680s, opposition to the conservative cultural politics of Louis XIV coalesced in an influential court clique around Louis XIV’s son, Louis (1661–1711). In contrast to the king’s anti-theatrical moralizing and heritage of supporting classicism, the Dauphin and his cabale embraced aspects of the arts that Louis XIV had rejected: the Comédie-Italienne, Italian music, and the operas of André Campra. The Dauphin not only supported the Opéra and encouraged Louis XIV to reinstitute the Comédie-Italienne, but his cabale also staged entertainments at court in which commedia dell’arte and Italian music featured. The group’s support for Campra during the early phase of his operatic career is reflected by three fêtes commissioned from him in 1697–8 by nobles seeking to cultivate members of the cabale as political patrons. The Dauphin’s importance as a protector of the theatre was publicly acknowledged in the prologue to Campra’s Le Carnaval de Venise (1699) and in other works of the period. The activities of the cabale and its extended political clientele thus played a significant role in the French fad for Italian music and comedy of the late 1690s, and demonstrate the influence of courtly politics in the musical life of the era.</div></front></TEI><affiliations><list></list><tree><noCountry><name sortKey="Fader, Don" sort="Fader, Don" uniqKey="Fader D" first="Don" last="Fader">Don Fader</name></noCountry></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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