{"id":23182,"date":"2018-03-27T00:00:00","date_gmt":"2018-03-26T22:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2018\/03\/27\/la-musique-a-geneve\/"},"modified":"2024-08-16T11:35:37","modified_gmt":"2024-08-16T09:35:37","slug":"la-musique-a-geneve","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/en\/critiques\/livres-et-partitions\/2018\/03\/la-musique-a-geneve","title":{"rendered":"Music in Geneva"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Genf-2.jpg\" alt=\"\" width=\"554\" height=\"373\" \/><figcaption class=\"wp-caption-text\">Old town of Geneva. Photo: Dragunsk Usf\/flickr.com<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>In a richly illustrated book, historian Corinne Walker presents us with a sonorous picture, from the early 17th century to the period of French annexation, of a city life far removed from the clich\u00e9 of a Geneva where a narrow-minded Calvinism would banish music. On the contrary, music was very much present, especially in the 18th century, when musical practice spread not only among \"high society\", but also among the wealthy bourgeoisie and artisans. It was certainly not the songs of the psalter that aroused passion for Euterpe's art, but, first and foremost, the social practices of dancing: although Rousseau's homeland had no princely or religious courts, it remained in the hands of an oligarchy, which, like the young reformed aristocrats who came from abroad to study, did not disdain entertainment. Thus, less than half a century after Calvin's death, and despite the scandalized reactions of the austere Consistoire, balls multiplied, involving the presence of musicians (the dancing masters themselves played the violin), with several groups, some from neighboring Savoy, performing as early as the 17th century. A larger ensemble (\"Soci\u00e9t\u00e9 de concerts\") was created in 1717. The patrician salons organized private concerts and welcomed musicians, including Mozart, aged 10, for no less than three weeks. The city also attracted virtuosos such as Viotti, oboist Le Brun and horn player Punto. Opera was not to be outdone: in 1766, after several attempts, a ban on theatrical performances and much controversy, the first theater in Neuve was built of wood. The same year, encouraged by Voltaire, Gr\u00e9try gave his first op\u00e9ra-comique. From music masters and schools to instrument and score makers and merchants, from the music of reformed temples to that accompanying military parades, harquebus festivities and revolutionary ceremonies, many other aspects of musical life are covered in this book, including a contribution by Xavier Bouvier, who looks at the contribution of the young English elite and the Genevan violinist and composer Gaspard Fritz (1716-1783).<\/p>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Geneve-et-musique.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<\/div>\n<div class=\"text-section\">\n<p><em>Corinne Walker: Musiciens et amateurs : le go\u00fbt et les pratiques de la musique \u00e0 Gen\u00e8ve aux XVIIe et XVIIIe si\u00e8cles \/ with a contribution by Xavier Bouvier, 113 p., La Baconni\u00e8re Arts\/Haute \u00c9cole de musique, Gen\u00e8ve\/Neuch\u00e2tel 2017, ISBN 9782940462148<\/em><\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<div class=\"text-section\">\n<p>A few decades later, in mid-19th-century Geneva, music was still a pleasant pastime for wealthy families, and piano playing was part of young girls' education. As for concerts, they were mainly given by distinguished amateurs of more or less mediocre talent. This is the context described by Michel Cardinaux in the first monograph devoted to Vincent Adler (1826-1871), a Hungarian-born pianist and composer whose itinerant musical career took him to Vienna and Paris, as well as to the city of Lake Geneva from 1851 to 1856 and during the last three years of his life. Edouard Lalo remarked of his works: \"... as a composer, he is very remarkable; he is the modern Chopin. As a pianist, he aroused enthusiasm at his concerts in the French-speaking part of Switzerland, his playing combining, according to the comments of the time, power and velvety smoothness. But his success didn't prevent him from finding himself in trouble, due to the stiff competition from countless virtuosos. Engaged as a teacher at the Geneva Conservatory, he was appreciated by his pupils, who offered him a piano by subscription. In poor health, he died prematurely. The author of this book is to be thanked for reviving the memory of a musician totally forgotten today, and, we hope, leading to the rediscovery of his compositions, some of which are briefly presented in the last chapter.<\/p>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/04_crit_buch_geneve2.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<\/div>\n<div class=\"text-section\">\n<p><em>Michel Cardinaux: Vincent Adler: un compositeur hongrois \u00e0 Gen\u00e8ve, 161 p., Fr. 25.00, Rapsodia Helvetica, Nuvilly 2017, <a href=\"mailto:rapsodia@bluemail.ch\">rapsodia@bluemail.ch<\/a>ISBN 9782970087151<\/em><\/p>\n<\/div>\n<div class=\"text-section\">\n<p>Michel Cardinaux has recorded a first series of pieces dedicated to this wonderful musician:<\/p>\n<p>Vincent Adler: <em>Grande marche opus 24<\/em><br \/>\n<a href=\"https:\/\/youtu.be\/CVChKbwlaCA\">https:\/\/youtu.be\/CVChKbwlaCA<\/a><\/p>\n<p>Vincent Adler: <em>Barcarolle opus 26<\/em><br \/>\n<a href=\"https:\/\/youtu.be\/aH-cl5U_g4I\">https:\/\/youtu.be\/aH-cl5U_g4I<\/a><\/p>\n<p>Vincent Adler. <em>Etude opus 16 no 6<\/em><br \/>\n<a href=\"https:\/\/youtu.be\/gYeu2BLxMwo\">https:\/\/youtu.be\/gYeu2BLxMwo<\/a><\/p>\n<p>Vincent Adler: <em>Valse Rococo opus 11<\/em><br \/>\n<a href=\"https:\/\/youtu.be\/eegaa_igZcg\">https:\/\/youtu.be\/eegaa_igZcg<\/a><\/p>\n<p>Vincent Adler: <em>Album leaflet Op. 13 No. 1<\/em><br \/>\n<a href=\"https:\/\/youtu.be\/NlzdME9m0i4\">https:\/\/youtu.be\/NlzdME9m0i4<\/a><\/p>\n<p>Vincent Adler: <em>Album leaflet Op. 13 No. 2<\/em><br \/>\n<a href=\"https:\/\/youtu.be\/6DJp5hdtrBs\">https:\/\/youtu.be\/6DJp5hdtrBs<\/a><\/p>\n<p>Vincent Adler: <em>Posthumous album leaf<\/em><br \/>\n<a href=\"https:\/\/youtu.be\/tdypjrTI8ks\">https:\/\/youtu.be\/tdypjrTI8ks<\/a><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Two recent publications explore a large part of Geneva's musical past, often obscured by preconceived ideas, and the life and work of composer and pianist Vincent Adler, one of the many foreign musicians based in Geneva.<\/strong><\/p>","protected":false},"author":1,"featured_media":23183,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1614,1616],"tags":[],"class_list":["post-23182","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>La 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