Mozart e i classici nel Journal (1822-1863) di Delacroix

Review of "Mozart et la France, de l'enfant prodige au génie (1764-1830)" (Symétrie éd., 2014)

Studia Musicologica, 2017

The gramophone recording of Mozart's Piano Concerto in G major, K. 453, featuring Ernst von Dohnányi as soloist and conductor of the Budapest Philharmonic Orchestra, made in 1928 for the Columbia Company, is important in many respects. The Hungarian pianist and composer made little more than a handful of gramophone recordings until the late 1940s. This performance is also the first audio recording ever to be published that contained a Mozart piano concerto (some piano rolls with concertos or extracts did exist beforehand). From the beginning of his career, Dohnányi had been one of the keenest promoters of the Austrian composer's piano pieces. In the Co-lumbia recording, the performing style of Dohnányi and his orchestra is characteristic of its time, notably because it chooses to use a flexible tempo. In addition, the soloist makes use of rubato and chord dislocation. Nonetheless, the performers are also playing in an intimate conversational tone and they emphasize Mozart's structural clarity. The execution of themes by the pianist is both poetic and restrained. These traits will define the "mainstream" performing style of Mozart's piano concertos over most of the twentieth century. An implicit aesthetic standard comes into force in the critical reviews of the Columbia records: Mozart's piano concertos require lightness and gentleness from the soloist. The elements given prominence to the recording and in the reviews also appear in contemporary musicological literature and in texts on music. Recordings of two additional Mozart piano concertos (K. 271 and K. 503), played live by Dohnányi in the 1950s, display a broadly similar performing style. Over the ten years that followed the Columbia recording, the majority of Mozart's "great" piano concertos were published on records. This newly found popular interest is connected with a positive re-evaluation of this group of Mozart's works.

Revue de Musicologie, 2021

The article unveils the genesis of Mozart’s opera "Lo sposo deluso", a pasticcio written around 1783 based on the libretto of "Le donne rivali" (1780). However, "Lo sposo deluso" contains also other texts of unknown origin. We were able to identify the provenance of some of these texts, starting with the aria "Le virtuose che son famose", which is also found in "Il maestro di musica", an Italian intermezzo published thirty years before. Textual elements taken from the work of Goldoni and from an opera by Piccinni were also recognized. This obscure Mozart libretto thus constitutes a curious example of the method of adapting Italian libretti used in Vienna at the end of the eighteenth century.

Chroniques allemandes, 1993

During a visit to Vienna/Austria, Hegel enjoyed listening to Italian opera. This article reconstructs the details and tries to explain why he liked Italian opera.

La Flûte enchantée est à la fois une sorte d’opérette féerique pour les enfants et un ouvrage crypté paraphrasant un rituel maçonnique. J’ai vu lors de la Flûte enchantée qui ouvrait la célébration des deux cents ans de la mort de Mozart à Salzbourg en 1991, un garçon de 14 ans qui en Italie s’était mué en Amadeus avant que le pape ne le nomme chevalier de l’Éperon d’or. Celui à qui on commandait des opéras et qui est ressorti du temple d’Isis à Pompéi, le front ceint de lueurs divines, pour révéler des "traditions antérieures au déluge".

Studia Musicologica, 2017

The gramophone recording of Mozart’s Piano Concerto in G major, K. 453, featuring Ernst von Dohnányi as soloist and conductor of the Budapest Philharmonic Orchestra, made in 1928 for the Columbia Company, is important in many respects. The Hungarian pianist and composer made little more than a handful of gramophone recordings until the late 1940s. This performance is also the first audio recording ever to be published that contained a Mozart piano concerto (some piano rolls with concertos or extracts did exist beforehand). From the beginning of his career, Dohnányi had been one of the keenest promoters of the Austrian composer’s piano pieces. In the Columbia recording, the performing style of Dohnányi and his orchestra is characteristic of its time, notably because it chooses to use a flexible tempo. In addition, the soloist makes use of rubato and chord dislocation. Nonetheless, the performers are also playing in an intimate conversational tone and they emphasize Mozart’s structura...

Extraits d'une traduction française de l'essai "Mozart" (H. Kobayashi), 2000

©Yukiko Kano Il s'agit d'extraits (60 %) de la traduction française par moi de l'essai célèbre "Mozart" de Hideo Kobayashi (1902-1983). Le texte date de 1946. La traduction de 2000. Mon français avait cinq ou six ans à l'époque et je vivais encore au Canada. (Ce ne fut qu'en 2001 que j'entamai mon erreur... oups, non, ma thèse de doctorat à Paris.) Ce travail m'étonne de sa validité et de sa rigueur ainsi que de sa qualité littéraire. En 2000, M. Maurice Nadeau, encore en vie, a lu ce texte et s'est exprimé en faveur de sa publication. Je fus flattée mais n'y crus. Maintenant, je crois. En revanche, les droits de traduction, toujours détenus par la fille unique de l'auteur, restent interdits à ce jour encore. Pour information, l'intégralité du texte traduit est disponible. 小林秀雄の有名なエッセイ「モオツァルト」（1946年）に2000年に私自身が初仏訳した原稿からの抜粋。当時の私のフランス語は5、6年程度のものでした。まだカナダに住んでいました。パリで博論を開始したのが翌年からでした。個人の勉強用の翻訳でしたが、現在読み直しても訳文の正確さと文体は非常に優れたものです。当時、まだ存命だった高名な編集者モーリス・ナドー氏が直々出版したいと言ってくださいました。一方、当時も現在も、欧語翻訳の権利は与えられないことになっています。

Le comte de Charles-Joseph de Clary-Aldringen (1777-1831) voyage deux fois en Italie. En 1816, Naples est une étape d’un séjour dédié aux arts et aux paysages d’une péninsule marquée par les changements politiques du début du XIXe siècle. Les préoccupations de santé sont le motif de son installation dans le golfe de 1818 à 1820 avec sa famille. L’appartenance à une grande famille de la monarchie des Habsbourg est un aspect essentiel de l’organisation de ces voyages à tonalité différente, conçus entre grand monde et bains de mers. Le comte est issu d’une maison princière dont les domaines sont regroupés autour de la ville d’eau de Teplitz en Bohême du nord. Il dispose ainsi d’un point de comparaison précis lorsqu’il découvre les transformations de la capitale alors que « s’invente le désir d’un tourisme nouveau, éloigné du classique voyage de Naples ». De l’homme du monde en villégiature au curiste distingué, il s’agit de mettre en lumière ce que le comte va chercher à Naples, les ressources qu’il mobilise pour y parvenir, et les descriptions qu’il en transmet en Europe centrale au début du XIXe siècle. Mots-clés : Clary-Aldringen, voyages, Naples, sociabilité, pratiques de santé, correspondances, journal. Abstract : Count Charles- Joseph of Clary-Aldringen (1777-1831) travelled down to Italy twice. In 1816, Naples was a stage on a journey dedicated to the arts and the landscapes of the peninsula which was affected by political changes. From 1818 to 1820, staying in the Neapolitan bay with his family was more motivated by health concerns. The Count inherited a princely estate mainly around the spa of Teplitz in North Bohemia. It thus gave him a precise point of comparison when he discovered the changes that had occurred in Naples when “the longing for a new kind for a new kind of tourism was being invented, far removed from the classical journey to Naples ”. Our point is then to bring to light what the Count was looking for when he came to Naples, his economic and social resources and the descriptions he then sent to his relatives and friends in central Europe at the beginning of the 19th century. Key words: Clary-Aldringen, travels, Naples, socializing, health practices, letters, diary.