By Timothy Flynn
Charles FranГ§ois Gounod: A learn and data Guide is an annotated bibliography touching on either the character of fundamental assets relating to the composer and the scope and importance of the secondary resources which care for him and his compositions.
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Additional resources for Charles Francois Gounod: A Research and Information Guide
Again, definitions of what is “seemly” are absent. The author (and perhaps grudgingly the Pope) believes that sacred music can greatly profit from “keeping in touch” with secular music, and visa versa. Therefore, modern composers and musicians can contribute efficaciously to the evolution of sacred music without turning the church into an opera house. 13. Cohen, H. Robert. ” Nineteenth Century Music 7 (1983/84): 136–142. This article, from over 20 years ago, is a call to arms for scholars of nineteenth-century music on two very important levels: the first, to use and explore to the fullest extent possible the great (and then) untapped resources of the French periodic press; and second, by so doing, to create reference tools that organize and systematize these materials to enable future scholars to more easily use these primary sources.
His comments deal primarily with details of tempo, dynamics, and just how to convey the meaning of the song’s text with conviction and artistry. The composers whose songs Bernac addresses are: Berlioz, Gounod, Franck, Lalo, Saint-Saëns, Delibes, Bizet, Massenet, Duparc, Chabrier, Chausson, Fauré, Debussy, Satie, Caplet, Roussel, Ravel, and Poulenc. The author gives the most attention to the music of Chausson, Fauré, Debussy, Ravel, and Poulenc. ” The author likewise believes that Gounod was the “true originator of the French mélodie” while their accompaniments remain more closely associated with the earlier romance in their simplicity and strophic form.
Specialized studies on the composer’s music, namely, works by Lesley Wright (#125), Joseph-Marc Bailbé (#130, 131), Steven Huebner (#158), Samuel Parnes (#195), and Kenneth Langevin (#164), have appeared in the past twenty years and many of these are in the form of dissertations and theses. As expected, the majority of these specialized studies concentrate upon the operatic repertory with heavy emphasis upon Faust, although there is some limited research on the Masses, and two fine dissertations exploring Gounod’s song repertory.