Nicolas-Etienne Framery

BookNicolas-Etienne Framery

Nicolas-Etienne Framery

and lyric theatre in eighteenth-century France

Oxford University Studies in the Enlightenment, 2003:11

2003

November 21st, 2003

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This study offers a reassessment of the librettist, parodist and critic Nicolas-Etienne Framery (1745-1810) whom scholars have frequently mentioned in passing, but whose career remains little known and poorly understood today. Though Framery was also active as a translator of Italian epic works and an occasional author of narrative, this study considers his work as a dramatist and theatrical critic, and demonstrates his constant concern for progress in French lyric theatre. Framery was one of the generation of librettists to write for the new Comédie-Italienne after 1762, and his enthusiasm for the innovative opéra-comique was unfailing. His attention to musical terminology made him one of the major contributors, alongside Momigny and Ginguené, to the Encyclopédie méthodique: musique. Unlike better-known theorists of music such as Rousseau, Framery adopted a progressive stance towards musical theatre and took an active part, in the 1770s, in the introduction of Italian lyric forms into the French theatre world. Parodies of Sacchini and Paisiello are considered here, as are Framery’s theoretical views on composition, on the relationship between music and language, and on operatic word setting. His progressivism extended to journalism (he was the editor of the first periodical on music in France, the Journal de musique, and a columnist for the Mercure de France) and to administrative issues (he acted as agent for the Bureau established to protect authors’ rights during the Revolution). Framery’s writings for the Journal, for the Encyclopédie méthodique, and for the Institut de France show him to be a pioneering thinker on music who preferred the concept of expression to classical theories of music as imitation. Framery’s approach led him to adopt a career at variance with tradition and it is only now, in the light of recent research on the opéra-comique, that his innovations in the lyric theatre can be properly appreciated.

'Mark Darlow's study is a pioneering assessment [...] which embraces a large range of the subject's activity, [focusing] on theatre history, the press and musical writings.'
British Journal for Eighteenth-Century Studies

'Students of the closely entangled French musical and literary scenes will find in Mark Darlow’s book much information and a valuable model of what can be achieved by thorough interdisciplinary investigation.'
Music and Letters

Table of Contents

Table of Contents
Section TitlePagePrice
Cover1
Title Page4
Copyright Page5
Contents6
Table of illustrations8
Acknowledgements10
Abbreviations12
Introduction14
1. Nicolas-Etienne Framery: A Reluctant Modernist?22
2. Preference for the Opéra-Comique56
3. Transformations of French Works89
4. The Renewal of Public Interest in Italian Music: Parody as Cultural Translation119
5. Framery and Sacchini143
6. Framery and Paisiello190
7. Criticism as a Vehicle for Cultural Progress: Framery as Journalist and Critic229
8. Framery's Work in Cultural Administration268
9. Late Writings on Musical Theory301
Conclusion321
Appendix 1: Unpublished and Little-Known Texts by or Concerning Framery325
Appendix 2: Letters from Framery to the Press351
Appendix 3: Public Performances of Works by Framery365
Appendix 4: Press Reviews of Works by Framery368
Appendix 5: Liminary Texts: La Colonie, 'Au Lecteur'372
Critical Catalogue of Framery's Works375
Bibliography392
Index410