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C e n t ro S t u di O pe r a O m n i a L u igi B occ h e r i n i
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Nineteenth-Century Music Criticism
International Conference
10-12 November 2015
Lucca, Complesso monumentale di San Micheletto
Organized by
Centro Studi Opera Omnia Luigi Boccherini, Lucca
Palazzetto Bru Zane - Centre de musique romantique française, Venice
in collaboration with
OICRM, Montréal
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Programme Commitee
Marita Fornaro Bordolli (Universidad de la República, Uruguay)
Teresa Cascudo (Universidad de La Rioja)
Michel Duchesneau (Université de Montréal / OICRM)
Katharine Ellis (University of Bristol)
Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
Étienne Jardin (Palazzetto Bru Zane)
Massimiliano Locanto (Università degli Studi di Salerno)
Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
Gemma Pérez Zalduondo (Universidad de Granada)
Luca Lévi Sala (Yale University)
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Keynote Speakers
Teresa Cascudo (Universidad de La Rioja)
Katharine Ellis (University of Bristol)
TUESDAY 10 NOVEMBER
10.00-10.30: Opening
• Fulvia Morabito (President Centro Studi Opera Omnia Luigi Boccherini)
• Étienne Jardin (Palazzetto Bru Zane, Venice)
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13.00 Lunch
WEDNESDAY 11 NOVEMBER
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13.00 Lunch
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13.00 Lunch
Keynote Speaker
Sylvia Kahan (The Graduate Center and College of Staten Island, City University of
New York)
Music Reporting of Paris’s 1878 Exposition Universelle: Twenty-two Articles by
Émile-Mathieu de Monter for the Revue et Gazette musicale de Paris
The 1878 Exposition Universelle brought to the Champs de Mars an unprecedented
panoply of international musical activity. Instrument exhibitions and demonstrations,
concerts, and other sonic events emanating from every corner of the globe could be seen and
heard on a daily basis. The Paris music press gave widespread coverage to the sonic goings-on
at the Fair. Of particular interest are the twenty-two articles written by noted musicologist
and journalist Émile-Mathieu de Monter for the Revue et Gazette musicale de Paris. Monter
(1835-1880) was a broad-minded and forward-thinker writer about music. He advocated for
the popularization of early sacred music and advocated for a turning-away from the supremacy
of opera (and the frivolity of operetta) in French musical life and towards a new symphonic
school. His important body of work includes a study of the life and works of Hector Berlioz
as well as a biography of Louis Lambillotte (1796-1855), a Belgian Jesuit and composer who
was active in the restoration of Gregorian chant. I propose to examine trends and predilections
in Monter’s writings, especially his investigations into Orientalist music, his promotion of the
‘Russian concerts’ presented by Nikolay Rubinstein, and his presentations of new technologies
brought to the manufacturing of musical instruments. Of special interest is Monter’s ability
to explain and valorize non-Western music: his reports on music from Austria to Argentina,
from Annam [Vietnam] to Andalusia gave him a special understanding of French music’s place
within a broad context of ‘world music’ and provided readers with an unprecedented overview
of intercultural relationships in the sonic universe.
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