Mozart and the Nineteenth-Century Parisian Press: The Musicography of Henri Blaze de Bury, 1834-1882

莫扎特和十九世纪巴黎出版社：亨利·布莱兹·德·伯里的音乐创作，1834-1882 年

• 批准号: AH/E002668/1
• 负责人: Mark Everist
• 金额: $ 2.01万
• 依托单位: University of Southampton
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2006
• 资助国家: 英国
• 起止时间: 2006 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FE002668%2F1
• 关键词: Mozart; Nineteenth; Century; Parisian; Press

It is frequently stated that Mozart stands as a symbol for classical music at the beginning of the 21st century, and this is never more true than in the 250th anniversary of his birth (27 January 2006). Less frequently is it asked why this is so. An important range of answers may be offered by reference to the changing attitudes to the composer during the course of the last quarter millennium; these may be expressed in terms of performance, arrangement, impact on the world of belles lettres and critical appreciation.Nineteenth-century France, which almost always means nineteenth-century Paris, boasted the most sophisticated musical culture in Europe supported by the most elaborate music press and by theatrical criticism that was noteworthy for the refinement of its musical knowledge. Perhaps the best known critic, Hector Berlioz, was one of the most controversial, but the only two journalists to receive careful modern editorial attention have been Berlioz himself and his close supporter, Joseph d'Ortigue. Modern views of any nineteenth-century musical phenomena, including Mozart, are therefore coloured by the powerfully expressed views of these two authors.'Mozart and the 19th-Century Parisian Press: The Musicography of Henri Blaze de Bury, 1834-1882' attempts to give an alternative perspective both to our understanding of how Mozart was received by the most important European musical centre in the nineteenth century and to the more general world of Parisian musical journalism by examining the changing views on Mozart during the half century that Ange-Henri Blaze (dit Blaze de Bury; 1813-1888) wrote music criticism for the Revue des deux mondes (1834-1882). The project puts in place a complete machine-readable electronic corpus of Blaze de Bury's writings on music in order to permit an exhaustive account of not just what his views on Mozart were but how they changed over the course of the period during which his criticism was published.The research represents an important contribution to two major subject areas: the discipline of Mozart-reception and the current enthusiasm for the nineteenth-century Parisian press. It provides an coherent view of the composer in the hands of a single critic for the first time, and in its presentation of a machine readable corpus (of around 700,000 words) of a critic distanced from the avant garde provides an important complement to existing studies either complete (as in the case of d'Ortigue) or ongoing (as in the case of Berlioz).The results of the project will appear as a paper at a international conference in London, the report of that conference, an article in a refereed journal and as a open-access website where the entire writings on music by Blaze de Bury will be freely available for consultation and search.

人们经常说，莫扎特在21世纪初是古典音乐的象征，在他诞辰250周年(2006年1月27日)时更是如此。很少有人问为什么会这样。一系列重要的答案可以参考在过去四分之一个千年期间对作曲家态度的变化；这些可能表现在表演、编曲、对美人小说家世界的影响和批判性欣赏方面。19世纪的法国，几乎总是指19世纪的巴黎，拥有欧洲最复杂的音乐文化，由最精致的音乐出版社和以其音乐知识的精炼而闻名的戏剧批评所支持。也许最著名的批评家赫克托·柏辽兹是最具争议性的人之一，但唯一受到现代编辑关注的两名记者是柏辽兹本人和他的亲密支持者约瑟夫·奥蒂格。因此，包括莫扎特在内的19世纪任何音乐现象的现代观点都受到这两位作家强有力表达的观点的影响。《莫扎特与19世纪巴黎报刊：亨利·布拉泽·德·布里的音乐学，1834-1882》试图通过考察Ange-Henri blaze de Bury(Dit Blaaze de Bury；1813-1888)为世界歌舞团(Revue des deux mondes，1834-1882年)撰写音乐评论的半个世纪期间对莫扎特的看法变化，为我们理解19世纪欧洲最重要的音乐中心是如何接受莫扎特的，以及更广泛的巴黎音乐新闻界提供另一种视角。该项目建立了一个完整的机器可读的布拉泽·德·布里音乐著作的电子语料库，以便不仅能够详尽地描述他对莫扎特的观点，而且还可以详尽地描述在他的批评发表期间这些观点是如何变化的。这项研究对两个主要主题领域做出了重要贡献：莫扎特接受纪律和目前对19世纪巴黎媒体的热情。它第一次提供了作曲家在单一评论家手中的连贯观点，并在介绍一位远离前卫的评论家的机器可读语料库(约70万字)时，对现有研究提供了重要的补充，无论是已完成的研究(如德奥蒂格的研究)还是正在进行的研究(如柏辽兹的研究)。该项目的结果将以论文的形式出现在伦敦的一个国际会议上，该会议的报告将作为一篇文章发表在一个经评审的期刊上，并作为一个开放获取的网站，在那里将免费提供blaze de Bury关于音乐的全部著作供参考和搜索。