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

该项目将探讨音乐法国出版商杜兰德的主要版本在其百年提供学术和教育产出，其成果有可能改变法国音乐研究的做法。经典版是一个重要的，大的，但很少探索，从十八世纪和十九世纪的欧洲钢琴音乐收集，由编辑序言支持，由杜兰德出版在巴黎从1915年起。它的曲目包括著名和后来被遗忘的作曲家的音乐，这些音乐是由二十世纪初知名和不太知名的法国作曲家与音乐学家和巴黎音乐学院的教师一起编辑的。其他世纪末版本（例如，亨利专家版，或圣桑的Oeuvres complètes de Rameau）一直是蓬勃发展的研究主题，但经典版对这个论坛的贡献尚不清楚。这个及时的项目（与大多数音乐现在在公共领域）将调查版本在其第一个富有成效的十年（c。1915年至1925年），作为一个棱镜，通过它来重新解释音乐的过去。三个时间位置是隐含的：版本的第一次世界大战设置;早期（S）的原始音乐;我们的今天。调查将集中在“法国口音”给这些“经典”，涉及音乐主体和对象之间的相互作用;与时间和地点有关的态度;法国遗产和国际主义。调查将从编辑音乐的详细分析案例研究开始，这将支持最高水平的合作奖学金。这些选择的基础是：音乐的平衡;知名和不太知名的作曲家/编辑;来源的可用性;使用带有编辑评论的卷;比较版本;以及分析兴趣。第一组将包括拉威尔（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）;由十八世纪法国大键琴演奏家的音乐平衡，包括库普兰（Tiersot编辑）和拉莫（Diémer）。第二组可能包括：Closson（编辑Les Classiques Belges），Ropartz（韩德尔），Riéra（李斯特）和Mendelssohn的室内乐）。通过法国国家图书馆、杜兰德和巴黎音乐学院的档案、在线资源和私人收藏，可以获得资料来源。其次，综合运用档案、历史和解释技巧，对经典教育的作用和更广泛的文化网络进行评估，将为20世纪初的法国文化身份提供新的见解（例如，新古典主义初期）;与二十世纪法国作曲家自己的音乐的关系;正典问题;音乐学院教育学;战时出版，在Expert，Saint-Saëns和Heugel的版本背景下。该项目还将包括今天的用户-学生，学者，音乐家和更广泛的公众-如何从这些知识中受益（测试和调整），包括钢琴家的替代诠释和推广“失落”的曲目。主要产出将包括：《经典》目录（c. 1915-25年;约。120编辑卷，18编辑，22早期作曲家）;三个案例研究文章/章节，一些合著（关于拉威尔和门德尔松;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）;三个进一步的文章（关于版本的经典的修正主义含义;音乐学院教育学;战时出版的文化经济问题）;相关会议论文;表演研讨会;主办的国际会议和公共音乐会，后续合编卷（其中可能包含上面的一些章节）;以及BBC Radio 3节目。初步测试表明，“法国口音”可以从一个微妙的重新变化-通常与措辞和重音有关-通过一个更根本的重写音乐史。

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.