Mark Everist Knihy

In Mozart's Ghosts, author Mark Everist investigates how the composer's past status can be understood as part of today's veneration.

Focusing on the often-overlooked diversity of stage music in nineteenth-century Paris, this collection re-evaluates the city's role as both an importer and exporter of opera, particularly from its Italian-speaking neighbors. It comprises twelve updated and translated articles and essays that aim to broaden the understanding of Parisian stage music beyond the Paris Opéra, highlighting the rich variety of works that contributed to the era's musical landscape. This scholarly volume is essential for anyone interested in the historical context and evolution of opera.

Focusing on the vibrant musical landscape of nineteenth-century Paris, this book explores the rich cultural environment that drew foreign musicians to the city. It delves into the diverse theaters, genres, and artistic resources available, while highlighting the significant contributions of Giacomo Meyerbeer, a pivotal figure in stage music. Through this lens, the text examines the intricate relationship between music and the theatrical culture of the time.

Focusing on the vernacular motet in thirteenth-century France, this study explores its significance as a prestigious musical form bridging the Notre-Dame School and early Ars Nova. It examines how musicians and poets transformed existing materials into new works, analyzing the processes of texting and retexting. The book also delves into genre conception in this era, incorporating twentieth-century genre theory to enhance understanding. Ultimately, it presents the motet as a dynamic interplay of literary and musical elements, enriching the meaning of each composition.

The Conductus is a non-liturgical Latin song that dominated European culture in the Middle Ages. This comprehensive book uses cutting-edge research to show how poetry and music interact, exploring the role of the Conductus in medieval society, and providing new perspectives on this important body of music and poetry.

During the Second Empire, from 1854 until 1870, the state had power over the Opera in ways that were without precedent. The Opera effectively became a branch of government. The result was a stagnation of the Opera's repertory, and beneficiaries were the composers of larger-scale works for competing theatre organisations.