Description: French Language Edition La Musique à la Cour de François Ier by Christelle Cazaux Published by Ecole des Chartes, Paris 2002. French Text. Very good trade paperback. Tight binding, solid spine, clean unmarked text. 8vo, 415 pages. Le regne de Francois Ier fait figure d'age d'or de la Renaissance francaise. Mais bien que le gout du Valois pour les beaux-arts et son role de mecene aient maintes fois retenu l'attention des historiens, la musique est singulierement restee en marge de leurs considerations. L'epoque de Francois Ier est pourtant celle des debuts de l'imprimerie musicale, de l'apogee de la chanson francaise dite "parisienne" et de l'emergence d'une musique instrumentale independante des modeles vocaux preexistants. La musique est omnipresente dans la vie de la cour : des baptemes aux obseques, des entrees royales aux receptions de princes etrangers, a la messe comme dans les bals et autres divertissements. Pour ce faire, le roi recrute chantres, copistes, fifres, trompettes, hautbois, saqueboutes ou violons, mais aussi cornets, luthistes, organistes, flutistes, violistes. Il s'attache quelques-uns des plus grands compositeurs ou virtuoses de son temps : si les noms de Claude de Sermisy, Sandrin ou Albert de Rippe sont aujourd'hui moins familiers que ceux de Leonard de Vinci, Benvenuto Cellini, Rosso ou Primatice, ils n'en ont pas moins ete abondamment celebres par Marot, Saint-Gelais, Baif ou Ronsard. A partir des documents d'archives et des temoignages de cette epoque, ce livre nous invite a decouvrir qui sont et d'ou viennent les musiciens de Francois Ier, comment fonctionnent les differents corps musicaux de la cour - la Chapelle, l'Ecurie et la toute nouvelle musique de la Chambre -, enfin quelle place la musique tient dans les petits et grands evenements du regne.The reign of Francis I is considered the golden age of the French Renaissance. But although the Valois' taste for the fine arts and its role as patron have repeatedly attracted the attention of historians, music has singularly remained on the margins of their considerations. The era of Francis I is, however, that of the beginnings of musical printing, of the apogee of French song known as "Parisian" and of the emergence of instrumental music independent of pre-existing vocal models. Music is omnipresent in court life: from baptisms to funerals, from royal entrances to receptions of foreign princes, at mass as well as in balls and other entertainments. To do this, the king recruited cantors, copyists, fifes, trumpets, oboes, sackbuts or violins, but also cornet players, lutenists, organists, flutists, violists. He focuses on some of the greatest composers or virtuosos of his time: if the names of Claude de Sermisy, Sandrin or Albert de Rippe are less familiar today than those of Leonardo da Vinci, Benvenuto Cellini, Rosso or Primaticce, they were no less widely celebrated by Marot, Saint-Gelais, Baif and Ronsard. Based on archival documents and testimonies from this period, this book invites us to discover who the musicians of Francis I were and where they came from, how the different musical bodies of the court functioned - the Chapel, the Stable and the brand new music of the Chamber -, finally what place music holds in the small and large events of the reign. Loc: A5StoreAdd to FavoritesFeedbackFRENCH CHAMBER MUSIC CLASSICAL COURT FRANCOIS I MUSICOLOGY CRITICISM RENAISSANCE French Language Edition La Musique à la Cour de François Ier by Christelle Cazaux Published by Ecole des Chartes, Paris 2002. French Text. Very good trade paperback. Tight binding, solid spine, clean unmarked text. 8vo, 415 pages. Le regne de Francois Ier fait figure d'age d'or de la Renaissance francaise. Mais bien que le gout du Valois pour les beaux-arts et son role de mecene aient maintes fois retenu l'attention des historiens, la musique est singulierement restee en marge de leurs considerations. L'epoque de Francois Ier est pourtant celle des debuts de l'imprimerie musicale, de l'apogee de la chanson francaise dite "parisienne" et de l'emergence d'une musique instrumentale independante des modeles vocaux preexistants. La musique est omnipresente dans la vie de la cour : des baptemes aux obseques, des entrees royales aux receptions de princes etrangers, a la messe comme dans les bals et autres divertissements. Pour ce faire, le roi recrute chantres, copistes, fifres, trompettes, hautbois, saqueboutes ou violons, mais aussi cornets, luthistes, organistes, flutistes, violistes. Il s'attache quelques-uns des plus grands compositeurs ou virtuoses de son temps : si les noms de Claude de Sermisy, Sandrin ou Albert de Rippe sont aujourd'hui moins familiers que ceux de Leonard de Vinci, Benvenuto Cellini, Rosso ou Primatice, ils n'en ont pas moins ete abondamment celebres par Marot, Saint-Gelais, Baif ou Ronsard. A partir des documents d'archives et des temoignages de cette epoque, ce livre nous invite a decouvrir qui sont et d'ou viennent les musiciens de Francois Ier, comment fonctionnent les differents corps musicaux de la cour - la Chapelle, l'Ecurie et la toute nouvelle musique de la Chambre -, enfin quelle place la musique tient dans les petits et grands evenements du regne.The reign of Francis I is considered the golden age of the French Renaissance. But although the Valois' taste for the fine arts and its role as patron have repeatedly attracted the attention of historians, music has singularly remained on the margins of their considerations. The era of Francis I is, however, that of the beginnings of musical printing, of the apogee of French song known as "Parisian" and of the emergence of instrumental music independent of pre-existing vocal models. Music is omnipresent in court life: from baptisms to funerals, from royal entrances to receptions of foreign princes, at mass as well as in balls and other entertainments. To do this, the king recruited cantors, copyists, fifes, trumpets, oboes, sackbuts or violins, but also cornet players, lutenists, organists, flutists, violists. He focuses on some of the greatest composers or virtuosos of his time: if the names of Claude de Sermisy, Sandrin or Albert de Rippe are less familiar today than those of Leonardo da Vinci, Benvenuto Cellini, Rosso or Primaticce, they were no less widely celebrated by Marot, Saint-Gelais, Baif and Ronsard. Based on archival documents and testimonies from this period, this book invites us to discover who the musicians of Francis I were and where they came from, how the different musical bodies of the court functioned - the Chapel, the Stable and the brand new music of the Chamber -, finally what place music holds in the small and large events of the reign. Loc: A5
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Author: Christelle Cazaux
Book Title: La Musique à la Cour de François Ier
Language: French
Topic: Art History, Classical Music, Cultural History, Music, Political History, Regional History, CHAMBER MUSIC, FRENCH COURT
Format: Trade Paperback
Publisher: Ecole des Chartes,
Genre: Antiquarian & Collectible, Art & Culture, MUSIC, CRITICISM
Book Series: NONE
Publication Year: 2002
Original Language: French
Features: FRENCH TEXT
Type: Trade Paperback
Country/Region of Manufacture: France
Edition: First Edition
Narrative Type: Nonfiction
Signed By: N/A
Intended Audience: Adults, Young Adults
Signed: No
Vintage: No
Ex Libris: No
Inscribed: No
Personalized: No
Personalize: No
Era: 2000s
Number of Pages: 415
ISBN: 2900791510