Accenting the Classics: Durand's Édition classique (c. 1915-25) as a French Prism on the Musical Past

该项目将探索法国音乐出版商杜兰德百年纪念的主要版本，以提供学术和教育成果，其结果有可能改变法国音乐研究的实践。《爱德分类》是十八世纪和十九世纪欧洲钢琴音乐的一个重要的、庞大的、但很少被探索的集合，由编辑序言支持，从1915年起由杜兰德在巴黎出版。它的曲目包括著名和后来被遗忘的作曲家的音乐，这些音乐是由20世纪初著名和不太知名的法国作曲家以及巴黎音乐学院的音乐学家和教师编辑的。其他Fin-de-siècle版本(例如，Henry Expert‘s版本，或Saint-Sane’s Oeuvres Comlètes de Rameau)一直是蓬勃发展的研究的主题，但《纪事》分类对这个论坛的贡献尚不为人所知。这个及时的项目(目前大多数音乐都在公共领域)将调查该版本在其富有成效的第一个十年(约1915-25年)，作为一个棱镜，通过它来重新解释音乐的过去。它隐含着三个时间位置：第一次世界大战的版本背景；原创音乐的早期(S)；我们现在的时代。调查将集中在这些经典作品的法国口音，涉及音乐主体和客体之间的相互作用；与时间和地点有关的态度；法国传统和国际主义。调查将从编辑音乐的详细分析案例研究开始，这将维护最高水平的合作学术。这些选择的依据是：音乐的平衡；知名和不太知名的作曲家/编辑；来源可获得性；使用带有编辑评论的卷；比较版本；以及分析兴趣。首批成员包括拉威尔(编辑门德尔松)和德彪西(肖邦)；伊曼纽尔、加尔班和罗杰-杜卡斯(巴赫和勃艮第民歌)；由18世纪法国大键琴演奏家的音乐平衡，包括库佩林(蒂尔索编辑)和拉莫(迪梅尔)。第二组可能包括：克洛森(编辑《钟声》)、罗帕茨(亨德尔)、里埃拉(李斯特)和鲁塞尔(门德尔松的室内乐)。资料的获取将通过法国国家图书馆、杜兰德音乐学院和巴黎音乐学院的档案、在线资源和私人收藏品获得。第二，利用档案、历史和解释相结合的技能，评估时代分类的作用和更广泛的文化网络，将提供对二十世纪早期法国文化认同的新见解(例如，早期的新古典主义)；与二十世纪法国作曲家自己的音乐的关系；正典问题；音乐学院的教育学；战时出版，在专家、圣萨恩和海格尔的版本的背景下。该项目还将包括当今的用户--学生、学者、音乐家和更广泛的公众--如何从这种知识中受益(测试和反映)，包括对钢琴家的另类解释和对《迷失》曲目的推广。主要产出将包括：《纪事分类法》内容目录(约1915-25年；约20卷编辑，18位编辑，22位早期作曲家)；三篇案例研究文章/章节，一些合著(关于拉威尔和鲁塞尔关于门德尔松；德彪西的肖邦版本和他自己的练习曲和奏鸣曲；法语大键琴音乐)；另外三篇文章(关于该版本正典的修正主义影响；音乐学院的教学；战时出版的文化经济问题)；相关的会议论文；表演工作坊(S)；一次主办的国际会议和公共音乐会，以及后续的联合编辑卷(可能包含上文的一些章节)；英国广播公司第三电台节目。初步测试表明，“法国口音”可能会有细微的变化--通常与措辞和重音有关--直到对音乐史进行更为根本的重写。

This project will explore the music French publisher Durand's major edition in its centenary year to deliver scholarly and educational outputs, whose outcomes have the potential to change practice in French music research. The Édition classique is a significant, large, but little explored, collection of European piano music from the eighteenth and nineteenth centuries, supported by editorial prefaces, published by Durand in Paris from 1915 onwards. Its repertoire comprises music by well-known and since-forgotten composers, which was edited by well- and lesser-known early twentieth-century French composers, together with musicologists and teachers at the Paris Conservatoire. Other fin-de-siècle editions (for example, Henry Expert's edition, or Saint-Saëns's Oeuvres complètes de Rameau) have been the subject of thriving research, but the contribution of the Édition classique to this forum is not yet known. This timely project (with most music now in the public domain) will investigate the edition in its first fruitful decade (c. 1915-25), as a prism through which to reinterpret the musical past. Three temporal positions are implied: the edition's World War I setting; the earlier period(s) of the original music; our present day. Enquiries will focus on the 'French accent' given to these 'Classics', involving interplay between musical subject and object; attitudes relating to time and place; French heritage and internationalism. Investigation will start with detailed analytical case studies of edited music, which will uphold the highest levels of collaborative scholarship. These are selected on the basis of: a balance of musics; well- and lesser-known composers/editors; source availability; use of volumes with editorial commentary; comparative editions; and analytical interest. The initial group will include Ravel (editing Mendelssohn) and Debussy (Chopin); Emmanuel, Garban and Roger-Ducasse (Bach and Burgundian folksongs); balanced by music of the eighteenth-century French harpsichordists, including Couperin (edited by Tiersot) and Rameau (Diémer). A second group will likely include: Closson (editing Les Classiques belges), Ropartz (Handel), Riéra (Liszt) and Roussel (Mendelssohn's chamber music). Access to sources will be secured via the Bibliothèque nationale de France, Durand and Paris Conservatoire archives, online resources and private collections.Secondly, using blended archival, historical and interpretative skills, assessment of the role and wider cultural network of the Édition classique will offer new insights into early twentieth-century French cultural identity (e.g. incipient neoclassicism); relations with twentieth-century French composers' own music; canonic issues; Conservatoire pedagogy; wartime publishing, in the context of editions by Expert, Saint-Saëns and Heugel. The project will also embrace how today's users - students, scholars, musicians and the wider public - can benefit from (test out and inflect) this knowledge, including alternative interpretations for pianists and the promotion of 'lost' repertoire. The main outputs will comprise: a catalogue of the Édition classique's contents (c. 1915-25; approx. 120 edited volumes, 18 editors, 22 earlier composers); three case study articles/chapters, some co-authored (about Ravel and Roussel on Mendelssohn; Debussy's Chopin edition and his own Études and sonatas; Francophone harpsichord music); three further articles (on revisionist implications of the edition's canon; Conservatoire pedagogy; cultural-economic issues of wartime publishing); associated conference papers; performance workshop(s); a hosted international conference and public concert, with follow-on co-edited volume (which may house some chapters above); and a BBC Radio 3 programme. Pilot tests suggest that the 'French accent' can vary from a subtle re-inflection - often relating to phrasing and accentuation - through to a much more fundamental re-writing of musical history.