OperaV1, Hal, Corpus, bibRecord, 000097

Halévy and his Contribution to the Evolution of the Orchestra in the Mid-Nineteenth Century

Identifieur interne : 000097 ( Hal/Corpus ); précédent : 000096; suivant : 000098

Halévy and his Contribution to the Evolution of the Orchestra in the Mid-Nineteenth Century

Auteurs : Damien Colas

Source :

RBID : Hal:halshs-00461727

Descripteurs français

mix :
- Halévy, accompagnement, ballet, consort, effets d'orchestre, marches solennelles, mélophone, opéra français, orchestration, saxhorns, saxophones, trombone à pistons.

Abstract

In the history of French orchestration in the 19th century, Meyerbeer and Berlioz are usually considered the most important innovators. Halévy was, nevertheless, also highly regarded for his innovations. This study examines Halévy's use of new and rare instruments in operas (1838-1851), particularly in ballet music, but also as accompaniment to choruses during marches and other solemn occasions, and finally, if only rarely, as accompaniment to arias. In the first category (ballet), the mélophone and the valve trombone, both used in Guido in Ginévra, reflect a taste for strange and unheard sonorities that was characteristic of French music in the 1840s. In the second one (accompaniment) are the families of saxhorns and saxophones, recently invented by Adolphe Sax, which were used in Le juif errant, and revived techniques of consort writing that had been used in the 17th century. The last part of the essay examines new orchestration procedures with traditional instruments, such as the division of strings, the mixture of woodwind instruments, and the simultaneous use of valve and natural horns.

Url:

https://halshs.archives-ouvertes.fr/halshs-00461727

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Hal:halshs-00461727

Le document en format XML

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<abstract xml:lang="en">In the history of French orchestration in the 19th century, Meyerbeer and Berlioz are usually considered the most important innovators. Halévy was, nevertheless, also highly regarded for his innovations. This study examines Halévy's use of new and rare instruments in operas (1838-1851), particularly in ballet music, but also as accompaniment to choruses during marches and other solemn occasions, and finally, if only rarely, as accompaniment to arias. In the first category (ballet), the mélophone and the valve trombone, both used in Guido in Ginévra, reflect a taste for strange and unheard sonorities that was characteristic of French music in the 1840s. In the second one (accompaniment) are the families of saxhorns and saxophones, recently invented by Adolphe Sax, which were used in Le juif errant, and revived techniques of consort writing that had been used in the 17th century. The last part of the essay examines new orchestration procedures with traditional instruments, such as the division of strings, the mixture of woodwind instruments, and the simultaneous use of valve and natural horns.</abstract>
<abstract xml:lang="fr">Dans l'histoire de l'orchestration en France au XIXème siècle, Meyerbeer et Berlioz sont généralement considérés comme les novateurs les plus importants. Halévy était cependant admiré pour ses innovations. Cette étude examiné l'emploi d'instruments rares ou nouveaux par Halévy dans ses opéras, de 1838 à 1851, en particulier dans les musiques de ballet, mais aussi dans les fonctions d'accompagnement de chœurs, de marches et autres pièces solennelles, et enfin l'accompagnement des arias. Dans la première catégorie (ballet), le mélophone et le trombone à pistons, employés dans Guido et Ginévra, traduisent un goût pour les sonorités étranges ou inouïes, qui était typique de la musique française des années 1840. Dans la seconde (accompagnement) se distinguent les catégories des saxhorns et saxophones, récemment inventées par Adolphe Sax, qui furent employées dans Le juif errant, et permirent le recours à l'orchestration par familles instrumentales entières (écriture en consort), typiques du XVIIème siècle. La dernière partie de l'étude examines de nouvelles techniques d'orchestration appliquées à des instruments traditionnels, comme la division des cordes, les doublures des bois et l'emploi simultané de cors naturels et à piston.</abstract>
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Halévy and his Contribution to the Evolution of the Orchestra in the Mid-Nineteenth Century

Halévy and his Contribution to the Evolution of the Orchestra in the Mid-Nineteenth Century

Source :

Descripteurs français

Abstract

Links to Exploration step

Le document en format XML

Pour manipuler ce document sous Unix (Dilib)

Pour mettre un lien sur cette page dans le réseau Wicri