'Gabriel Pierné (1863-1937) and the Composer-Conductor Identity'

费思研究的对象皮尔内是20世纪初巴黎最杰出的指挥家之一。他首演了德彪西、拉威尔和斯特拉文斯基等人的作品，并指挥科隆交响乐团长达22年。鉴于他长期且享有盛誉的指挥生涯，他被认为是“战后巴黎音乐界最有权势的人之一”(Nichols 2002：42)。然而，作为一名作曲家，皮尔内也非常活跃--比他的大多数巴黎管弦乐指挥家都要活跃--主要资料显示出他对创作方面的强烈认识。费思的研究旨在了解皮埃尔·S作为指挥家的重大贡献，以及他作曲家和指挥家身份的接受情况，以及这种双重角色对他自己的音乐传播的影响。进而，费思的目的是为了解第三共和国内作曲家和指挥家的角色，包括批评家赋予他们的价值观，以及将它们结合在一起的影响提供新的线索。

Pierné, the subject of Faith's research, was one of the most prominent conductors of early twentieth-century Paris. He premièred works by Debussy, Ravel and Stravinsky, to name but a few, and steered the Colonne Orchestra for 22 years. In view of this long and prestigious conducting tenure, he has been deemed 'one of the most powerful men on the postwar Paris [music] scene' (Nichols 2002: 42). However, Pierné was also very active as a composer - more so than most of his fellow Parisian orchestral conductors - and primary sources show a strong awareness of his creative side. Faith's research seeks to understand Pierné's significant contribution as a conductor, as well as the reception of his composer-conductor identity, and the impact this dual role had on the propagation of his own music. By extension, Faith aims to shed new light on composer and conductor roles within Third Republic France, including the values which critics attached to them, and the effects of combining them.