Performance de l’oratorio et inscriptions du sublime - Il Ritorno di Tobia de Haydn (1775-1784)

Grosperrin, Jean-Philippe

doi:10.15122/isbn.978-2-8124-4680-1.p.0063

À la croisée des arts. Sublime et musique religieuse en Europe (XVIIe-XVIIIe siècles) - Performance de l’oratorio et inscriptions du sublime

Performance de l’oratorio et inscriptions du sublime Il Ritorno di Tobia de Haydn (1775-1784)

Publication type: Article from a collective work
Collective work:
À la croisée des arts
. Sublime et musique religieuse en Europe (xvii^e-xviii^e siècles)
Author: Grosperrin (Jean-Philippe)
Pages: 63 to 79
Collection: Reading the Seventeenth Century, n° 32
Series: Musique et littérature, n° 4

Article from a collective work: Previous 4/31 Next

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Haydn’s Il Ritorno di Tobia encourages us to reflect on the plasticity of the category of the sublime as both a style and an effect. It also warns us not to disassociate the religious sublime – projected or produced by music as much as by Italian verse – from the effect of performance nor from the benefits of the range, ornamentation, and the other artifices of music.

CLIL theme: 4027 -- SCIENCES HUMAINES ET SOCIALES, LETTRES -- Lettres et Sciences du langage -- Lettres -- Etudes littéraires générales et thématiques
ISBN: 978-2-8124-4680-1
EAN: 9782812446801
ISSN: 2257-915X
DOI: 10.15122/isbn.978-2-8124-4680-1.p.0063
Publisher: Classiques Garnier
Online publication: 06-25-2015
Language: French

Performance de l’oratorio et inscriptions du sublime Il Ritorno di Tobia de Haydn (1775-1784)

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