Résumés
Abstract
Why was Mozart’s duet, “Crudel! perchè finora” (Le Nozze di Figaro, III (i)) among the operatic excerpts sung by amateur and professional musicians at Mrs. Widder’s private Toronto soirée musicale? Typically Victorian, the formal programme for this musical party mixed opera with glees, popular ballads, and instrumental music, but the Mozart duet is rarely found on such programmes. The British hostess may have relied on her socially prominent audience in colonial Canada to recognize that her concert echoed the programming practices of London (England), as she positioned the concert to support her husband’s politically-sensitive land development plans. This example of trans-Atlantic culture suggests that Victorian amateur concert programmes are useful sources for audience reception history.
Résumé
Quelle est la raison pour laquelle le duo de Mozart « Crudel! perchè finora » (Le Nozze di Figaro, III (i)) était-il au programme des divers airs d’opéra interprétés par des musiciens amateurs et professionnels à la soirée musicale privée de Mme Widder à Toronto? Typiquement victorien, le programme formel de cette soirée mélangeait opéra et chant choral, ballades populaires et musique instrumentale. Cependant, le duo de Mozart est rarement entendu lors de tels programmes. L’hôtesse britannique a peut-être compté sur son auditoire de haut rang dans la colonie canadienne afin de reconnaître les vertus de son programme reflétant les pratiques de la capitale londonienne et de promouvoir du même coup les visées—politiquement délicates—, en développement foncier de son mari. Cet exemple de culture trans-Atlantique suggère que les programmes de concert amateur victoriens peuvent constituer des sources utiles dans le cadre de l’histoire des pratiques de réception des auditoires.
Veuillez télécharger l’article en PDF pour le lire.
Télécharger
Parties annexes
References
- Abrams, Harriett. c. 1800. A Second Sett of Italian and English Canzonetts, for One, Two, or Three Voices with an accompaniment for the Piano-Forte or Harp, etc. London: L. Lavenu, for the Author.
- Aliquis [John Strachan]. 1845. Observations on the history and recent proceedings of the Canada Company addressed in four letters to Frederick Widder Esq., one of the commissioners. Hamilton, Ont.: no publisher.
- Anon. c. 1890. Party Giving on Every Scale. London: F. Warren and Co.
- Anon. 1901. “Obituary: Miss Charlotte Ann Birch”, The Musical Times and Singing Class Circular, 42, no. 697 (Mar.): 195.
- Anon. 1902. “The Original Tenor in Mendelssohn’s Elijah: Charles Lockey”, The Musical Times and Singing Class Circular, 43, no. 707 (Jan. 1): 28–9.
- Archives of Ontario. 1844. Colonel Lucas Colley Foster Fonds, MU1507/Correspondence/3, Charles Harrison to Ellen [Humphreys] Foster, Toronto, 5 Mar.
- Bodleian Library. 1835. Programme for a “Soirée Musicale” on 13 March 1835, London. University of Oxford: John Johnson Collection; Concerts 7 (86).
- Cummings, William H. 1897. “Miss C. A. Birch”, The Musical Times and Singing Class Circular, 38, no. 657 (Nov.): 759.
- Haycraft, Henry J. 1856a. “The Bonnie Blue E’en. Song. Words by Robert Burns. Music composed & dedicated to his fellow Academician and friend, J. Dodsley Humphreys Esq.”, Toronto: Haycraft Small & Addison.
- Haycraft, Henry J. 1856b. “Touch once again thy breathing wire. Canzonet. Sung by J. D. Humphreys,” Toronto: Haycraft Small & Addison.
- Humphreys, James Dodsley. 1843. “When We Two Parted”, New York: John F. Nunns.
- Hyde, Frederick Augustus. [1798]. A Miscellaneous Collection of Songs, Ballads, Canzonets, Duets, Trios, Glees, & Elegies; in two vols., properly adapted for the voice and piano-forte. The glees harmonized from selected Melodies by Mr. Webbe, and the Italian airs adapted by Mr. Shield expressly for this work. The whole carefully compiled from the most celebrated compositions of the best Authors and respectfully dedicated to Lady Lushington by her Ladyship’s much obliged humble sev’t, Fredk. Augs. Hyde. Vol. 1. London: Clementi & Company, No. 26 Cheapside.
- Royal Academy of Music Archive. 1830. Programme Booklet for Le Nozze Di Figaro, Saturday, 11 Dec., held at the Great Concert Room, the King’s Theatre, London.
- Royal Academy of Music Archive. 1832–1835. R.A.M. Committee Minutes [Volumes] 4 and 5.
- Royal College of Music, Centre for Performance History, Concert Programme Collection.
- Ryerson, Egerton. 1883. ed. J. G. Hodgins. The Story of My Life. Toronto: Briggs.
- Sterndale Bennett (Barry) Collection. 1849. William Sterndale Bennet, “Teaching Diaries”, A3.
- Trent University Archives. 1833. Stewart and Gilbert Bagnani Fonds, 94–016/1/1, Christopher Hagerman to John Strachan, London, 17 June 1833.
- Widder, Frederick. 1855. Information for intending emigrants of all classes to Upper Canada: designed principally for the small farmer, agricultural labourer, &c., but which will be found interesting to other classes possessed of capital or independent incomes, who may contemplate leaving the United Kingdom with their families. 4th ed., rev. and much extended. [Toronto?: s.n.].
- Bashford, Christina. 1996. “Public Chamber-Music Concerts in London, 1835–50; Aspects of History, Repertory and Reception,” 2 vols. Ph.D. Dissertation (Music), University of London King’s College.
- Bashford, Christina. 1999. “Learning to Listen: audiences for chamber music in early-Victorian London,” Journal of Victorian Culture, vol. 4, no. 1 (Spring): 25–51.
- Bashford, Christina, Rachel Cowgill, and Simon McVeigh. 2002. “The Concert Life in Nineteenth-Century London Database.” Nineteenth-century British Music Studies, vol. 2, edited by Bennett Zon and Jeremy Dibble, 1–14. Aldershot, Hants: Ashgate Publishing Limited.
- Beedell, Ann V. 1992. The Decline of the English Musician 1788–1888: A Family of English Musicians in Ireland, England, Mauritius, and Australia. Oxford: Clarendon Press.
- Booth Martyn, Lucy. 1978. 100 Years of Grandeur. Toronto: Pagurian Press Limited.
- Cowgill, Rachel. 2000. “‘Wise Men from the East’: Mozart’s Operas and their Advocates in Early Nineteenth-Century London.” In Music and British Culture, 1785–1914: Essays in Honor of Cyril Ehrlich, edited by Christina Bashford and Leanne Langley, 39–64. Oxford & New York: Oxford University Press.
- Davidoff, Leonore. 1973. The Best Circles—Society Etiquette and the Season. London: Croom Helm Ltd.
- Di Maggio, Paul. 1991. “Cultural Entrepreneurship in Nineteenth-Century Boston: The Creation of an Organizational Base for High Culture in America.” In Rethinking Popular Culture: Contemporary Perspectives in Cultural Studies, edited by Chandra Mukerji and Michael Schudson, 374–397. Berkeley: University of California Press.
- Guiguet, Kristina. 2004. The Ideal World of Mrs. Widder’s Soirée Musicale: Social Identity and Musical Life in Nineteenth-Century Ontario. Ottawa: Mercury Series of the Canadian Museum of Civilisation.
- Hall-Witt, Jennifer L. 2000. “Critics and the Elite at the Opera.” Music and British Culture, 1785–1914: Essays in Honor of Cyril Ehrlich, edited by Christina Bashford and Leanne Langley, 121–144. Oxford & New York: Oxford University Press.
- Johnson, F. Henry. 1970. “A Colonial Canadian in Search of a Museum,” Queen’s Quarterly 77, no. 2: 217–29.
- Kallmann, Helmut. 1987 [First published 1960]. A History of Music in Canada 1534–1914. Toronto: University of Toronto Press.
- Keillor, Elaine. 2006. Music in Canada: Capturing Landscape and Diversity. Montreal: McGill-Queen’s University Press.
- Kyte Senior, Elinor. 1981. British Regulars in Montreal: An Imperial Garrison, 1832–1854. Montreal: McGill-Queen’s University Press.
- Levine, Lawrence. 1988. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge, Mass.: Harvard University Press.
- Lindgren, Lowell. 1991. “Bits and Pieces: Music for Theater,” Harvard Library Bulletin new series 2, no. 4: 17–30.
- Martin, George. 1993. “The First Opera: The Early Days in San Francisco,” Opera Quarterly 10: 129–142.
- McKenna, Katherine. 1994. A Life of Propriety: Anne Murray Powell and Her Family, 1755–1849. Montreal & Kingston: McGill-Queen’s University Press.
- McMillan, Barclay. 1990. “Music in Canada 1791–1867.” M.A. Thesis (Music), Ottawa: Carleton University.
- Metcalf, George. 1980. “William Henry Draper.” The Pre-Confederation Premiers: Ontario Government Leaders, 1841–1867, edited by J.M.S. Careless, 32–88. Toronto: University of Toronto Press.
- Murray, Sterling E. 1991. “Mozart and Prague,” Proteus, A Journal of Ideas, special issue “Mozart: Changing Perceptions 1791–1991,” 8, no. 2: 29–38.
- Reich, Nancy B. 1993. “Women as Musicians: A Question of Class.” Musicology and Difference: Gender and Sexuality in Music Scholarship edited by Ruth A. Solie, 125–148. Berkeley: University of California Press.
- Ridgewell, Rupert. 2003. Concert Programmes in the UK and Ireland. London: IAML UK & Ireland/Music Libraries Trust.
- Robins, Brian. 2006. Catch and Glee Culture in Eighteenth-Century England. Woodbridge: The Boydell Press.
- Rudman, Michael. 2001. “James Dodsley Humphreys: A Look at Musical Life in Mid-Nineteenth Century Toronto,” The York Pioneer, 96: 8–25.
- Sachs, Joel. 1991. “London: The Professionalization of Music.” The Early Romantic Era: Between Revolutions, 1789 and 1848, edited by Alexander Ringer, 201–235. Englewood Cliffs, N.J.: Prentice Hall.
- Sale, David John. 1968. “Toronto’s pre-confederation music societies, 1845–1867.” M. Mus. thesis, University of Toronto.
- Shepherd, John. 1991. Music as Social Text. Cambridge: Polity Press.
- Strauchen, Elizabeth Bradley. 2000. “Giovanni Puzzi: His Life and Work. A View of Horn Playing and Musical Life in England from 1817 into the Victorian Era (c. 1855).” D.Phil. Music History, Music Oxford University, Somerville College.
- Weber, William. 1975. Music and the Middle Class: The Social Structure of Concert life in London, Paris and Vienna. New York: Holmes & Meier Publishers, Inc.
- Weber, William. 2005. “Concert Programmes 1790–1914: Case Studies by William Weber,” <http://www.cph.rcm.ac.uk/Programmes1/Pages/Symph6.htm>, London: Royal College of Music (accessed 15 January 2006).
- Woodfield, Ian. 2000. Music of the Raj: a social and economic history of music in late eighteenth-century Anglo-Indian society. Oxford & New York: Oxford University Press.
- Zaslaw, Neil. 1989. Mozart’s Symphonies: context, performance practice, reception. Oxford: Clarendon Press and New York: Oxford University Press.