Theatrical marginalia: Pierre Baillot and the prototype of the modern performer
In Western art music, the idea of the professional performer as a versatile interpreter of someone else’s music consolidated around the turn of the nineteenth century. The institutionalisation of instrumental training in dedicated schools (such as the Paris Conservatoire, established in 1795) favour...
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| Format: | Journal article |
| Language: | English |
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Oxford University Press
2020
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| _version_ | 1797061042658869248 |
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| author | Morabito, F |
| author_facet | Morabito, F |
| author_sort | Morabito, F |
| collection | OXFORD |
| description | In Western art music, the idea of the professional performer as a versatile interpreter of someone else’s music consolidated around the turn of the nineteenth century. The institutionalisation of instrumental training in dedicated schools (such as the Paris Conservatoire, established in 1795) favoured an increasing specialisation of composers and performers in their respective tasks. Scholars have often traced the development of these modern professional identities in fundamental innovations in the fabric and conceptions of musical notation. The newly detailed scores by Haydn, Mozart and Beethoven specify articulation, phrasing and even fingerings, suggesting a growing authority of the composer over the performer’s moves, and the score itself as an increasingly important focus of the musical event (scripting both what performers should do and what listeners, ideally, should discern). Rather than focusing on how music was notated by composers, this article proposes to explore the perspective of the performers handling it: how they understood their role in bringing the score to life, and the realms of commentary they inspired in Parisian debates about the progress of the art and the mechanisation of performance in the early nineteenth century. At the core of the Paris Conservatoire’s universal pedagogical project, the violinist Pierre Baillot (1771-1842) devised a prototype professional figure for the future of instrumental performance across genres: not a puppet-musician controlled via invisible strings, but an architect of musical impersonations, able to stimulate images or stories in the listeners’ mind and leave them theatrically spellbound. |
| first_indexed | 2024-03-06T20:25:26Z |
| format | Journal article |
| id | oxford-uuid:2f3c2369-d333-4f6d-8c34-3a0d0bd8dcbd |
| institution | University of Oxford |
| language | English |
| last_indexed | 2024-03-06T20:25:26Z |
| publishDate | 2020 |
| publisher | Oxford University Press |
| record_format | dspace |
| spelling | oxford-uuid:2f3c2369-d333-4f6d-8c34-3a0d0bd8dcbd2022-03-26T12:54:05ZTheatrical marginalia: Pierre Baillot and the prototype of the modern performerJournal articlehttp://purl.org/coar/resource_type/c_dcae04bcuuid:2f3c2369-d333-4f6d-8c34-3a0d0bd8dcbdEnglishSymplectic Elements at OxfordOxford University Press2020Morabito, FIn Western art music, the idea of the professional performer as a versatile interpreter of someone else’s music consolidated around the turn of the nineteenth century. The institutionalisation of instrumental training in dedicated schools (such as the Paris Conservatoire, established in 1795) favoured an increasing specialisation of composers and performers in their respective tasks. Scholars have often traced the development of these modern professional identities in fundamental innovations in the fabric and conceptions of musical notation. The newly detailed scores by Haydn, Mozart and Beethoven specify articulation, phrasing and even fingerings, suggesting a growing authority of the composer over the performer’s moves, and the score itself as an increasingly important focus of the musical event (scripting both what performers should do and what listeners, ideally, should discern). Rather than focusing on how music was notated by composers, this article proposes to explore the perspective of the performers handling it: how they understood their role in bringing the score to life, and the realms of commentary they inspired in Parisian debates about the progress of the art and the mechanisation of performance in the early nineteenth century. At the core of the Paris Conservatoire’s universal pedagogical project, the violinist Pierre Baillot (1771-1842) devised a prototype professional figure for the future of instrumental performance across genres: not a puppet-musician controlled via invisible strings, but an architect of musical impersonations, able to stimulate images or stories in the listeners’ mind and leave them theatrically spellbound. |
| spellingShingle | Morabito, F Theatrical marginalia: Pierre Baillot and the prototype of the modern performer |
| title | Theatrical marginalia: Pierre Baillot and the prototype of the modern performer |
| title_full | Theatrical marginalia: Pierre Baillot and the prototype of the modern performer |
| title_fullStr | Theatrical marginalia: Pierre Baillot and the prototype of the modern performer |
| title_full_unstemmed | Theatrical marginalia: Pierre Baillot and the prototype of the modern performer |
| title_short | Theatrical marginalia: Pierre Baillot and the prototype of the modern performer |
| title_sort | theatrical marginalia pierre baillot and the prototype of the modern performer |
| work_keys_str_mv | AT morabitof theatricalmarginaliapierrebaillotandtheprototypeofthemodernperformer |