{"id":1421,"date":"2012-05-07T10:30:59","date_gmt":"2012-05-07T14:30:59","guid":{"rendered":"http:\/\/blogs.law.harvard.edu\/loebmusic\/?p=1421"},"modified":"2012-05-07T10:25:18","modified_gmt":"2012-05-07T14:25:18","slug":"newly-digitized-hesione","status":"publish","type":"post","link":"https:\/\/archive.blogs.harvard.edu\/loebmusic\/2012\/05\/07\/newly-digitized-hesione\/","title":{"rendered":"Newly digitized: H\u00e9sione"},"content":{"rendered":"

Recently added to our collection of Digital Scores and Libretti<\/a> is this first edition of André Campra’s Hésione<\/em>: <\/p>\n

Hesione: trag\u00e9die mise en musique par Monsieur Campra: represent\u00e9e par l’Academie Royale de Musique le vingt-uni\u00e9me jour de Decembre 1700<\/a>. Paris: Ballard, 1700.
\nMerritt Room Mus 635.582.625 <\/p>\n

\"Andr\u00e9<\/a>

Andr\u00e9 Campra. H\u00e9sione. Merritt Room Mus 635.582.625<\/p><\/div><\/em>\n<\/div>\n

Le Cerf de la Vi\u00e9ville ranked Campra first among the post-Lully composers of French opera and held up his Tancr\u00e8de<\/em> (1702) as deserving of particularly high praise. Campra was second only to Lully in the number of trag\u00e9dies en musique<\/em> he composed, with ten such works in his oeuvre. His first trag\u00e9die en musique<\/em>, Hesione<\/em>, was performed at the Op\u00e9ra on 21 December 1700. The libretto was by Antoine Danchet. <\/p>\n

Vi\u00e9ville cited Hesione<\/em> as being “full of new and brilliant things” and that it offers proof that “since the death of Lulli there has still been something beautiful in France.”1<\/sup> Though his trag\u00e9dies<\/em> retained the general outlines of the genre as established by Lully, he departed from Lullian convention by employing more contrapuntal textures and vocal coloraturas. To the critics most faithful to Lully this was sign of the encroachment of Italian music in France. Campra acknowledged his tendencies when he set out his personal musical credo in the preface to his first book of cantatas (1708): “to the best of my abilities I have endeavoured to temper the delicacy of French music with the liveliness of Italian music.”2<\/sup><\/p>\n

(With thanks to Dr. Sarah Adams, Acting Richard F. French Librarian, for text slightly modified from her exhibition of French Baroque opera, in which this score appeared.)<\/p>\n

\n

1. “Hésione…qui est plein de choses neuves & brillantes[.] Il me suffit de cela pour montrer à Mr. l’Abbé que, depuis la mort de Lulli, on a encore fait quelque chose de beau en France.” Comparaison de la musique italienne et de la musique fran\u00e7oise<\/a>, 2nd ed. (Bruxelles: F. Foppens, 1705-1706), 1:98.<\/p>\n

2. “J’ay taché autant que j’ay pû de méler avec la delicatesse de la Musique Françoise, la vivacité de la Musique Italienne…”. Cantates fran\u00e7oises, mel\u00e9es de symphonies… Livre premier<\/a> (Paris: C. Ballard, 1708). <\/p>\n","protected":false},"excerpt":{"rendered":"

Recently added to our collection of Digital Scores and Libretti is this first edition of André Campra’s Hésione: Hesione: trag\u00e9die mise en musique par Monsieur Campra: represent\u00e9e par l’Academie Royale de Musique le vingt-uni\u00e9me jour de Decembre 1700. Paris: Ballard, 1700. Merritt Room Mus 635.582.625 Le Cerf de la Vi\u00e9ville ranked Campra first among the […]<\/p>\n","protected":false},"author":2249,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[13829],"tags":[40321,4299,5832,14789],"class_list":["post-1421","post","type-post","status-publish","format-standard","hentry","category-digital-collections","tag-andre-campra","tag-digital-scores","tag-opera","tag-scores","post-preview"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6lSEF-mV","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/archive.blogs.harvard.edu\/loebmusic\/wp-json\/wp\/v2\/posts\/1421","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archive.blogs.harvard.edu\/loebmusic\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.blogs.harvard.edu\/loebmusic\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/loebmusic\/wp-json\/wp\/v2\/users\/2249"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/loebmusic\/wp-json\/wp\/v2\/comments?post=1421"}],"version-history":[{"count":20,"href":"https:\/\/archive.blogs.harvard.edu\/loebmusic\/wp-json\/wp\/v2\/posts\/1421\/revisions"}],"predecessor-version":[{"id":1443,"href":"https:\/\/archive.blogs.harvard.edu\/loebmusic\/wp-json\/wp\/v2\/posts\/1421\/revisions\/1443"}],"wp:attachment":[{"href":"https:\/\/archive.blogs.harvard.edu\/loebmusic\/wp-json\/wp\/v2\/media?parent=1421"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/loebmusic\/wp-json\/wp\/v2\/categories?post=1421"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/loebmusic\/wp-json\/wp\/v2\/tags?post=1421"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}