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

人们常说莫扎特是21世纪初古典音乐的象征，而在他诞辰250周年（2006年1月27日）时，这一点再正确不过了。很少有人问为什么会这样。一个重要的答案范围可以提供参考的变化态度的作曲家在过去的二十五年的过程中;这些可能表现在表演、安排、对美女世界的影响和评论欣赏方面。十九世纪的法国，几乎总是指十九世纪的巴黎，它拥有欧洲最先进的音乐文化，最精致的音乐出版物和戏剧评论支持着它，这是值得注意的音乐知识的完善。也许最著名的批评家赫克托·柏辽兹是最有争议的评论家之一，但只有两位记者受到现代编辑的仔细关注，他们是柏辽兹本人和他的亲密支持者约瑟夫·德·奥蒂格。因此，对任何19世纪音乐现象的现代看法，包括莫扎特，都受到这两位作者强有力的表达观点的影响。莫扎特与19世纪巴黎出版社：亨利·布莱兹·德·伯里的音乐作品，1834-1882“试图通过考察昂热-亨利·布莱兹在世纪对莫扎特的看法的变化，为我们理解莫扎特是如何被19世纪世纪最重要的欧洲音乐中心所接受，以及更广泛的巴黎音乐新闻界提供另一种视角。（作者Blaze de Bury; 1813-1888）为《两个世界评论》（1834-1882）撰写音乐评论。该项目建立了一个完整的机器可读的电子语料库，收录了Blaze de Bury的音乐著作，不仅可以详尽地描述他对莫扎特的看法，还可以描述他的评论在出版期间的变化。这项研究对两个主要领域做出了重要贡献：莫扎特的接受纪律和目前对19世纪巴黎新闻界的热情。它提供了一个连贯的看法作曲家手中的一个单一的评论家第一次，并在其提出的机器可读语料库（约700人，000字）的评论家远离前卫提供了一个重要的补充，现有的研究，要么完成（如d 'Ortigue案）或正在进行的（如柏辽兹的情况）。该项目的结果将作为一份文件出现在伦敦的一次国际会议上，该会议的报告，一篇文章在一个参考期刊和作为一个开放访问的网站，整个著作的音乐由火焰德伯里将免费提供咨询和搜索。

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.