The Music Libraries of the Concert Spirituel: Canons, Repertoires, and Bricolage in Eighteenth-Century Paris.

摘要

The Concert Spirituel was the first public concert series in Europe. Its repertoires, which produced some of music's earliest canons, were shaped more strongly by bricolage (creative appropriation of available pre-existing works) than by deliberate artistic vision on the part of the concert entrepreneurs. Out of these repertoires grew a canon of composers, described by such terms as immortel, genie, and grand maitre. This unusual example of an eighteenth-century canon of great music vanished in the last quarter of the eighteenth century because it was generated and supported by individual writers, rather than being perpetuated by formal organizations such as the Paris Conservatoire. Evidence for these ideas comes from 1,200 concert programs, a printed repertoire from 1753, seven Concert Spirituel music library inventories---one newly discovered---and 250 manuscript scores and parts used by its soloists, orchestra, and chorus.