Musical Theatre at the Court of Louis XIV

A sizable proportion of court entertainments – operas , ballets , plays , balls – involved dancing ; although by 1688 Louis XIV himself no longer danced , he continued to promote the cultivation of dance as both a professional and a ...

Author: Rebecca Harris-Warrick

Publisher: Cambridge University Press

ISBN: 0521020220

Category: Music

Page: 364

View: 228


Le Mariage de la Grosse Cathos, a short ballet performed at the court of Louis XIV, is of major importance to the study of French Baroque dance. This facsimile reproduction of the entire manuscript is accompanied by a comprehensive study of the work itself and the context in which it was created and performed. Dated 1688, it provides a wealth of new and detailed information on numerous aspects of theatrical dance. It differs from the known choreographic sources in many respects, the two most important being the completeness of all its components--choreography, music, and text--and the use of a previously unknown dance notation system.

Dance Spectacle and the Body Politick 1250 1750

John S. Powell, “Pierre Beauchamps, Choreographer to Molière's Troupe du Roy,” Music and Letters 76, no. ... Rebecca Harris-Warrick and Carol G. Marsh, Musical Theatre at the Court of Louis XIV: Le Mariage de la Grosse Cathos ...

Author: Jennifer Nevile

Publisher: Indiana University Press

ISBN: 9780253351531

Category: Music

Page: 392

View: 667


An engaging overview of dance from the Medieval era through the Baroque

Louis XIV and the Land of Love and Adventure

Clearly the mascarade built upon the talents of a group of musicians and dancers who had worked together on many prior ... (Musical Theatre at the Court of Louis XIV: Le Mariage de la Gross Cathos) During the course of a masked ball ...

Author: K. F. Oelke

Publisher: K. F. Oelke


Category: History

Page: 591

View: 119


If this story seems like it has a thousand voices, there are; and they are set to the rhythm of the flow of their time. We are entering a virtual and imagined reality for us, and a real and imagined world for them. The baroque space. The living realm. Imagine this story as a fairy tale, a fantasy, even though it all is true. So many princes and princesses, duchesses and marquises, the abdicated Queen, Christine of Sweden, the exiled Queen of England, Henriette de France. A pageant, a parade. The whole Court going from castle to palace to castle, the royal caravan stretching out for miles and miles, golden carriages, riders in full colors, red, purple, blue, and their hats with long plumes. Beautiful prancing horses, The King rides alongside a carriage and flirts with a lover. Shiny ornate razor-sharp swords sheaved at the men’s waists. Delicate fans flickering lightly in the dainty white hands of the demoiselles let pass glimpses of flattering smiles. Musketeers mingling. Soldiers bringing up the rear. Stopping, dallying in the pristine and bucolic French countryside. The farmers come to watch as the procession passes, googling at their near heavenly presence. The nobles pass through villages and towns, banners waving, trumpets sounding. They stop for accolades, a party and a feast, telling stories, laughing, drinking and dancing through the torch and candle lit night. There is no hurry, nothing presses except their barely fettered desires. And as they lived they imagined. Charles Perrault, the author of Little Red Riding Hood, Cinderella, Puss in Boots, The Sleeping Beauty, and Bluebeard, was not only a member of the Académie Française and the leader of the “Modernes” in the controversy with the “Ancients”, he was an integral part of the Court. The Court was young and uninhibited, incessantly creating new ways of thinking, plays, ballets, novels, painting. The art of conversation, the social arts. These were the artists of the time and if they weren’t themselves artists they supported and patronized them. Racine, Molière, Lully, even the satiric Scarron, to mention just a few, received pensions from the King.

Reader s Guide to Music

DOI: 10.4324/9781315062525-106 Harris-Warrick, Rebecca, and Carol G.Marsh, Musical Theatre at the Court of Louis XIV: Le Manage de la Grosse Cathos, Cambridge: Cambridge University Press, 1994 Hilton, Wendy, Dance and Music of Court and ...

Author: Murray Steib

Publisher: Routledge

ISBN: 9781135942694

Category: Music

Page: 2624

View: 960


The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).

The Cambridge Companion to Ballet

Harris - Warrick , Rebecca , and Marsh , Carol G. , Musical Theatre at the Court of Louis XIV : Le Mariage de la Grosse Cathos . Cambridge : Cambridge University Press , 1994 . Haskell , Harry , The Early Music Revival : A History .

Author: Marion Kant

Publisher: Cambridge University Press

ISBN: 0521539862

Category: Music

Page: 406

View: 196


A collection of essays by international writers on the evolution of ballet.

The Art of Musical Phrasing in the Eighteenth Century

... Musical Theatre at the Court of Louis XIV , 53-54 , 144-48 . 71. Ibid . , 111 . 72. Cannon , Johann Mattheson , 25 . 73. Reinhard Keiser , La forza della virtù ( facsimile ed . , New York : Garland , 1986 ) . 74.

Author: Stephanie Vial

Publisher: University Rochester Press

ISBN: 1580460348

Category: Music

Page: 382

View: 782


Practical suggestions, and documentary evidence, for performers wishing to understand the gestures and nuances embedded in eighteenth-century musical notation.

The Triumph of Pleasure

The court ballet included a number of professional dancers (known as maîtres de danse) who danced alongside the nobility. ... Details are given in Rebecca Harris-Warrick and Carol Marsh, Musical Theatre at the Court of Louis XIV: The ...

Author: Georgia Cowart

Publisher: University of Chicago Press

ISBN: 9780226116389

Category: History

Page: 332

View: 244


With a particular focus on the court ballet, comedy-ballet, opera, and opera-ballet, Georgia J. Cowart tells the long-neglected story of how the festive arts deployed an intricate network of subversive satire to undermine the rhetoric of sovereign authority.

The Bals Publics at the Paris Op ra in the Eighteenth Century

In JeanBaptiste Lully and the Music of the French Baroque : Essays in Honor of James R. Anthony , ed . John Hajdu Heyer , 239-257 . Cambridge : 1989 . and Marsh , Carol G. Musical Theatre at the Court of Louis XIV .

Author: Richard Templar Semmens

Publisher: Pendragon Press

ISBN: 1576470342

Category: Performing Arts

Page: 228

View: 506


The range of possibilities for what was termed a ball in eighteenth-century France was quite considerable. At one extreme were the carefully regulated bals parés at the other were the elaborately staged bals masqués. Alternatively, a bal could also be an entirely impromptu affair. Throughout this colorful range of possibilities, the repertoire of dance styles and types was generally shared: danses figures, new as well as old, for couples; and group dances, among which the contredanse reigned supreme.There was another kind of ball, however, that has not yet been examined systematically by scholars. The bals publics held at the opera house in Paris were initiated not long after Louis XIV's death in 1715, and remained popular until the fall of the ancienne régime. This book explores the advent and early development of the bal public through 1763, when a fire destroyed the home of the Académie Royale de Musique (the 'Opera'). The bal public was unlike any other kind of ball, although, as with bals masqués, those in attendance were masked. This study aims, in part, to explore how the bal public might have influenced social dancing more generally. By 1744, there was a dramatic shift in social modeling from the royal balls at Versailles (and elsewhere) to the public balls at the Opera.

The Clothes that Wear Us

For the Opera see Jerome de La Gorce , L'Opera a Paris au temps de Louis XIV : histoire d'un theatre ( Paris ... See also Rebecca Harris - Warrick , " Ballroom Dancing at the Court of Louis XIV , " Early Music , February 1986 , 46-48 .

Author: Jessica Munns

Publisher: University of Delaware Press

ISBN: 0874136725

Category: Literary Collections

Page: 380

View: 331


Throughout the collection, there is an emphasis on the ways in which clothing could function to appropriate, explore, subvert, and assert alternative identities and possibilities."--BOOK JACKET.

Music Theater and Cultural Transfer

She is co-author with Carol G. Marsh of Musical Theatre at the Court of Louis XIV: “Le mariage de la grosse Cathos” (1994) and co-editor with Bruce A. Brown of The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and his ...

Author: Annegret Fauser

Publisher: University of Chicago Press

ISBN: 9780226239286

Category: Music

Page: 456

View: 546


Opera and musical theater dominated French culture in the 1800s, and the influential stage music that emerged from this period helped make Paris, as Walter Benjamin put it, the “capital of the nineteenth century.” The fullest account available of this artistic ferment and its international impact, Music, Theater, and Cultural Transfer explores the diverse institutions that shaped Parisian music and extended its influence across Europe, the Americas, and Australia. The contributors to this volume, who work in fields ranging from literature to theater to musicology, focus on the city’s musical theater scene as a whole rather than on individual theaters or repertories. Their broad range enables their collective examination of the ways in which all aspects of performance and reception were affected by the transfer of works, performers, and management models from one environment to another. By focusing on this interplay between institutions and individuals, the authors illuminate the tension between institutional conventions and artistic creation during the heady period when Parisian stage music reached its zenith.