The fashion for Flemish harpsichords in France: a new appreciation
International audience ; The long-standing fashion in Paris for instruments made in Antwerp is already well known through many texts, archival documents, and the examination of a large numbers of instruments. Here new documents are presented concerning Flemish instruments in the hands of French musicians and patrons (Marie-Françoise Certain, Elisabeth Jacquet de La Guerre, Pierre Crozat). Ruckers instruments sold in Paris sales during the eighteenth century are revisited and Flemish instruments in the Conservatoire in Paris (1793-1822) are studied from the point of view of heritage, conservati... Mehr ...
| Verfasser: | |
|---|---|
| Dokumenttyp: | conferenceObject |
| Erscheinungsdatum: | 1996 |
| Verlag/Hrsg.: |
HAL CCSD
|
| Schlagwörter: | pedagogy / Flemish harpsichords / history of taste / Paris / musicians / patrons / Conservatoire / ravalement / auctions / heritage / conservation / [SHS.MUSIQ]Humanities and Social Sciences/Musicology and performing arts |
| Sprache: | Englisch |
| Permalink: | https://search.fid-benelux.de/Record/base-27480637 |
| Datenquelle: | BASE; Originalkatalog |
| Powered By: | BASE |
| Link(s) : | https://shs.hal.science/halshs-00117525 |
International audience ; The long-standing fashion in Paris for instruments made in Antwerp is already well known through many texts, archival documents, and the examination of a large numbers of instruments. Here new documents are presented concerning Flemish instruments in the hands of French musicians and patrons (Marie-Françoise Certain, Elisabeth Jacquet de La Guerre, Pierre Crozat). Ruckers instruments sold in Paris sales during the eighteenth century are revisited and Flemish instruments in the Conservatoire in Paris (1793-1822) are studied from the point of view of heritage, conservation and pedagogy.