Messidor: Republican Patriotism and the French Revolutionary Tradition in Third Republic Opera' in Barbara Kelly, Music, Culture and National Identity in France, 1870-1939 (University of Rochester Press, 2008):
This brilliant series of publications now offers . . . this rich and fascinating portrait of the relationships between artistic creation and the representation of national identity during the Third Republic. . . . A remarkable contribution, and an essential work for those who are interested in French cultural history. INTERSECTIONS (CANADIAN JOURNAL OF MUSIC / REVUE CANADIENNE DE MUSIQUE) [Marie-Noelle Lavoie]
A distinguished collection of essays that will support and influence research on the fin-de-siècle for some time . . . An essential resource that deserves a place in the collection of every French scholar and academic music library. FONTES ARTIS MUSICAE [Keith E. Clifton]
Each contribution [i.e., chapter] adds to the growing literature on a musical, cultural, and political epoch that is rich in history and deep in complexity. . . . The volume is essential reading for the Francophile. MUSIC LIBRARY ASSOCIATION NOTES [Brian Doherty]
A compelling statement about the complexity of relationship between politics and art, culture and national identity, especially in fin-de siècle France, but also in many places and times besides. . . . detailed and nuanced; concise, well-argued, and thoroughly documented. . . . The volume is historically rooted in the best ways. . . . The exploration of this ambivalence [about how French nationalism should be reflected in music] makes for a powerful statement. Accessible to musicologists and historians alike. A model for exploring the often-repeated, yet open-ended connections between music and politics, culture and identity. JOURNAL OF MUSICOLOGICAL RESEARCH [Sindhumathi Revuluri]
An indispensable source for anyone fascinated by fin-de-siècle France. -- Carlo Caballero (University of Colorado), author of Fauré and French Musical Aesthetics
Advances an interpretive line that comes through with crystal clarity. . . . Music history and history tout court have more often than not pursued parallel paths, the one uninformed by the other. . . . The present volume will carry this conversation a valuable step further, and for this it deserves the gratitude of historians and musicologists alike. H-FRANCE REVIEW [Philip Nord]
French Music Since Berlioz, ed. Caroline Potter and Richard Langham Smith (Ashgate Press, 2006):
‘James Ross’ fascinating survey of the salon traces some vitally important and little explored threads in the fabric of French music.’ Hugh Macdonald, Professor of Music, Washington University, St. Louis, USA. ‘A masterly survey of a quintessentially French tradition’! Brio, March 2007
'Among the best music books of the year... All [contributions] are consistently sympathetic, illuminating and stimulating.' Classical Music
'A significant addition to the general literature on its subject that no French scholar, enthusiast, or academic music library can afford to be without.’ Fontes Artis Musicae.
This brilliant series of publications now offers . . . this rich and fascinating portrait of the relationships between artistic creation and the representation of national identity during the Third Republic. . . . A remarkable contribution, and an essential work for those who are interested in French cultural history. INTERSECTIONS (CANADIAN JOURNAL OF MUSIC / REVUE CANADIENNE DE MUSIQUE) [Marie-Noelle Lavoie]
A distinguished collection of essays that will support and influence research on the fin-de-siècle for some time . . . An essential resource that deserves a place in the collection of every French scholar and academic music library. FONTES ARTIS MUSICAE [Keith E. Clifton]
Each contribution [i.e., chapter] adds to the growing literature on a musical, cultural, and political epoch that is rich in history and deep in complexity. . . . The volume is essential reading for the Francophile. MUSIC LIBRARY ASSOCIATION NOTES [Brian Doherty]
A compelling statement about the complexity of relationship between politics and art, culture and national identity, especially in fin-de siècle France, but also in many places and times besides. . . . detailed and nuanced; concise, well-argued, and thoroughly documented. . . . The volume is historically rooted in the best ways. . . . The exploration of this ambivalence [about how French nationalism should be reflected in music] makes for a powerful statement. Accessible to musicologists and historians alike. A model for exploring the often-repeated, yet open-ended connections between music and politics, culture and identity. JOURNAL OF MUSICOLOGICAL RESEARCH [Sindhumathi Revuluri]
An indispensable source for anyone fascinated by fin-de-siècle France. -- Carlo Caballero (University of Colorado), author of Fauré and French Musical Aesthetics
Advances an interpretive line that comes through with crystal clarity. . . . Music history and history tout court have more often than not pursued parallel paths, the one uninformed by the other. . . . The present volume will carry this conversation a valuable step further, and for this it deserves the gratitude of historians and musicologists alike. H-FRANCE REVIEW [Philip Nord]
French Music Since Berlioz, ed. Caroline Potter and Richard Langham Smith (Ashgate Press, 2006):
‘James Ross’ fascinating survey of the salon traces some vitally important and little explored threads in the fabric of French music.’ Hugh Macdonald, Professor of Music, Washington University, St. Louis, USA. ‘A masterly survey of a quintessentially French tradition’! Brio, March 2007
'Among the best music books of the year... All [contributions] are consistently sympathetic, illuminating and stimulating.' Classical Music
'A significant addition to the general literature on its subject that no French scholar, enthusiast, or academic music library can afford to be without.’ Fontes Artis Musicae.
