Mark Everist
Biographic Data
| ID | 3833152 |
|---|---|
| NAME | Mark Everist |
| GIVEN NAMES | Mark |
| FAMILY NAME | Everist |
| SIGNATURE | EVERIST M |
| AFFILIATIONS | University of Southampton |
| ORCID | 0000-0001-7767-9814 |
| VERIFIED | No |
| TOTAL WORKS | 42 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 37 |
| EDITOR COUNT | 5 |
| FIRST PUBLICATION YEAR | 1987 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Time, Place, Tradition: Authorizing Musical Adaptation in the Long Nineteenth Century
Among the kaleidoscopic trajectories of arranging music for instrumental ensemble in the long nineteenth century, the questions of where the adaptations were made, what traditions they adopted and what view they took of their original subjects are paramount. The three issues entwine themselves in complex ways. Although there were pan-European traditions—the piano-vocal score of a lyric stage work, or the reduction of larger concerted works for pi…
Resonances from Beyond the Grave: Music and the Occult in Nineteenth-Century Paris
Music has featured prominently in the occult from as far back as histories of the subject may be traced. Yet however great the occult’s importance in French esoterism from Mersenne to Messiaen, accounts of its more recent manifestations in the nineteenth-century séance have inexplicably ignored its music. Newly recovered documents allow music’s key role in the séance in the second half of the nineteenth century and beyond to be placed at the cent…
Mélodies en vogue au XVIIIe siècle: Le répertoire des timbres de Patrice Coirault . Marlène Belly and Georges Delarue
Genre beyond Borders: Reassessing Operetta . Bruno Bower, Elisabeth Honn Hoegberg, and Sonja Starkmeth
Genre beyond Borders: Reassessing Operetta is a collection of thirteen chapters on the history of the genre prefaced by an introduction by the three editors. The ironies that the editors rightly point to in their introduction—the appropriation by ‘opera’ of numbers of works that are clearly operettas—are framed by the publication of their volume in the series Ashgate Interdisciplinary Studies in Opera, surely underpinning the paradox that their i…
Musique, journalisme et justice sociale: Paris entre les révolutions (1830-1851)
L’un des moyens de propagation de la philosophie de Jean-Baptiste Joseph Fourier se fit à travers la publication de deux périodiques : La Phalange , publié de 1836 à 1843, puis La Démocratie pacifique , publié de 1843 à son arrêt au début du Second Empire en novembre 1851. Dès le début, les publications proposèrent non seulement des comptes rendus sur l’actualité des concerts et des événements scéniques, mais aussi des essais plus discursifs sur …
Composers in the Middle Ages
Liturgy and Sequences of the Sainte-Chapelle: Music, Relics, and Sacral Kingship in Thirteenth-Century France , by Yossi Maurey; Vexilla regis glorie: Liturgy and Relics at the Sainte-Chapelle in the …
The Minor and the Marginalized? Recent Writing on Song and Speech in the Long Nineteenth Century
As "opera studies" -with their connotations of narrow repertory, even closer reading and a reluctance to engage with the overwhelming tradition of works involving spoken dialogue -yield to a broader view of music in the nineteenth-century European theatre, it becomes more and more obvious just how tiny the segment of the repertory "opera studies" in fact constitute. 1 Four recent books represent various types of shift away from a narrow canon of …
Genealogies of Music and Memory: Gluck in the 19th-Century Parisian Imagination
The history of music is most often written as a sequence of composers and works. But a richer understanding of the music of the past may be obtained by also considering the afterlives of a composer’s works. Genealogies of Music and Memory asks how the stage works of Christoph Willibald Gluck (1714–1787) were cultivated in nineteenth-century Paris, and concludes that although the composer was not represented formally on the stage until 1859, his m…
Genealogies of Music and Memory
Paris Imagines Gluck
The promotion of Gluck’s music between c 1830 and c 1870 was supported by interlocking networks of impresarios, publishers and vocal artists. The efforts of these agents overlapped directly with the performative undertakings described in the previous chapter, while literary and artistic figures established sites of Gluck reception independent of strictly musical enterprises.
Gluck in the Theatre
The 1859 revival of Gluck’s Orphée at the Théâtre-Lyrique is well known, the revival of Alceste at the Opéra in 1861 less so. Taken together with the 1867 production of the composer’s L’arbre enchanté and the 1868 one of Iphigénie en Tauride describes a history of decline with the success of the revivals in inverse proportion to the levels of participation of the 1859 Orphée, Pauline Viardot.
Gluck in Performance: Paris, c1770 to c1870
Although Gluck’s works for the French theatre were absent from the stage after 1830, Gluck’s music was widely known through various forms of concert: the concert historique , the concert series and freely-promoted concerts. Of great importance were the initiatives of François Delsarte who not only programmed large amounts of Gluck but who also developed a realistic mode of delivery which was to spill over eventually into the theatre.
Music, Theatre, and Diplomacy: The Paris Opéra during the Second Empire
One of the first accomplishments of the Second Empire (1852–70) was to bring the Opéra under the control of a committee of the most highly placed politicians in the land. While this had far-reaching consequences for the development of repertory in the capital and beyond, it also opened up the possibility of using the Opéra as a locus of diplomatic activity, and major works and productions were made to work for diplomatic purposes. The Opéra emerg…
The Empire at the Opéra: Theatre, Power and Music in Second Empire Paris
Although nineteenth-century legislation had tried to ensure a precise separation between genre and institution for Parisian music in the theatre, it had inadvertently laid out a field on which the politics of genre could be played out as agents and actors of all types deployed various forms of artistic power. During the Second Empire, from 1854 until 1870, the state took over day-to-day control of the Opéra in ways that were without precedent. Ev…
Music and Instruments of the Middle Ages: Essays in Honour of Christopher Page
Der mächtigste Tanzmeister des Kaiserreiches’? Offenbach at 200
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Cosmopolitanism and music for the theatre
The most cursory studies of nineteenth-century musical cultures betray an enormous mismatch between this view of ‘Teutonic Universalism’ and the reality of the cosmopolitan basis for almost everything that underpinned quotidian musical life. ‘Cosmopolitanism’ has been a term at the centre of much thought in the social sciences for a quarter of a century, and has recently taken on the same mystique in music as a number of concepts and authors that…
The Cambridge History of Medieval Music
Spanning a millennium of musical history, this monumental volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of the liturgy, to the riches of the vernacular song of the trouvères and troubadours. Alongside …
Cambridge History of Medieval Music
Machaut’s Musical Heritage
Machaut's musical heritage is uneven, in terms both of its sources and in the degree of continuity to which those sources seem to point. A good case can be made for acknowledging a greater continuity between Machaut's motets and his predecessors. In some cases, the Hoquetus David for example, Machaut's heritage serves as a point of reference in a conscious effort to revive the past. Nowhere does understanding Machaut's heritage more fraught than …
The Cambridge companion to medieval music
Gautier de Coinci: Miracles, Music, and Manuscripts . Kathy M. Krause , Alison Stones
Motets, French Tenors, and the Polyphonic Chanson ca. 1300
Despite frequent attempts to explain the emergence of a coherent type of polyphonic song in the early 14th century, our understanding is dominated by views drawn from lyric poetry, romance, criticism of musical and literary register, traditions of performance, and other abstract conceptualizations of this remarkable moment in the history of music. But there exists an extensive body of musical evidence that points to an energetic and sophisticated…
The Horse, the Clerk and the Lyric: The Musicography of the Thirteenth and Fourteenth Centuries
IT is not hard to find reports of a crisis in medieval musicology. As recently as 2001, readers of what is perhaps the most widely read scholarly journal in the anglophone musicological world were invited by Judith A. Peraino to re-read Joseph Kerman's comfortable elision of 'positivism' and 'medievalism' in the light of the writings of others quick to entertain adverse criticism of the discipline. Hardly surprisingly, the identification of crisi…
Methods of Analysis in Musicology
Nicolas Ruwet's 'Methods' deserve a broader reception than they have so far been afforded. When they appeared in 1966, they represented the first coherent attempt to articulate a music-analytical system which drew on the distributional and taxonomic procedures of anthropology, linguistics and ethnomusicology; they also form a large part of a system which has generated much critical comment, especially in the French and French-Canadian musico-semi…
Methods of Analysis in Musicology
Nicolas Ruwet's 'Methods' deserve a broader reception than they have so far been afforded. When they appeared in 1966, they represented the first coherent attempt to articulate a music-analytical system which drew on the distributional and taxonomic procedures of anthropology, linguistics and ethnomusicology; they also form a large part of a system which has generated much critical comment, especially in the French and French-Canadian musico-semi…
The Refrain Cento: Myth or Motet
Of all the genres of thirteenth-century vernacular polyphony, none is more elusive than the so-called refrain cento. Such types of composition as the motet enté and the motet with a single terminal refrain make regular appearances in the literature on the thirteenth-century motet. Most of these genres are defined by the presence or absence of a refrain , the musico-poetic entity which seems to drift from chanson to rondeau, to verse narrative, to…
From Paris to St. Andrews: The Origins of W1
Recent research has suggested that W1 may have been copied in St. Andrews in the 1240s. Very little attempt has been made to understand why or how the virtuoso polyphony associated with the cathedral of Notre-Dame in Paris came to be cultivated so far from home. The article argues for a redating of the manuscript in the 1230s and therefore rejects the suggestion that the interest in polyphonic music was generated by Bishop David Bernham (in offic…
Beyond the Moon: Festschrift Luther Dittmer
Lindoro in Lyon: Rossini's Le Barbier de Séville
Giacomo Meyerbeer, the Théâtre Royal de l'Odéon, and Music Drama in Restoration Paris
Research Article| October 01 1993 Giacomo Meyerbeer, the Théâtre Royal de l'Odéon, and Music Drama in Restoration Paris Mark Everist Mark Everist Search for other works by this author on: This Site PubMed Google Scholar 19th-Century Music (1993) 17 (2): 124–148. https://doi.org/10.2307/746330 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon T…
Models of Musical Analysis. Music before 1600
The Name of the Rose: Meyerbeer's opéra comique, Robert le Diable
Robert le Diable was perhaps the greatest operatic success of the early nineteenth century. Its 1831 premiere catapulted its composer not only to the centre of Parisian musical and theatrical culture but also to those of every European stage 1. Meyerbeer immediately found himself at the head of what Paris saw as the German School, and secured the coveted position as Weber's successor. Evidence of the unique nature of the opera's immediate impact …
French Motets in the Thirteenth Century. Music, Poetry and Genre
Analytical Strategies and Musical Interpretation: Essays on Nineteenth- and Twentieth-Century Music
This book is devoted to music analysis as an interpretive activity. Interpretation is often considered only in theory, or as a philosophical problem, but this book attempts to demonstrate and reflect on the interpretive results of analysis. Two associated types of practice are emphasised: ‘translation’, the transformation of one type of experience or art object into the musical work, the artistic attempt to persuade us that the new product is as …
Rethinking music
"Rethinking Music is in two parts. Part 1 focusses on approaches to musical texts, covering such topics as the relationship of text and context, concepts of unity and meaning in music, and the role of empirical approaches, together with compositional and performance perspectives. Underlying the volume as a whole is the question of how far, and in what ways, music theory can remain viable and valuable in a changing intellectual environment." "Part…
Translating Weber's Euryanthe: German Romanticism at the Dawn of French Grand Opera
Music Drama at the Paris Odéon, 1824–1828
Parisian theatrical, artistic, social, and political life comes alive in Mark Everist's impressive institutional history of the Paris Odéon, an opera house that flourished during the Bourbon Restoration. Everist traces the complete arc of the Odéon's short but highly successful life from ascent to triumph, decline, and closure. He outlines the role it played in expanding operatic repertoire and in changing the face of musical life in Paris. Everi…
Manuel García (1775–1832): Chronicle of the Life of a ‘bel canto’ Tenor at the Dawn of Romanticism. James Radomski
Journal Article Manuel García (1775–1832): Chronicle of the Life of a ‘bel canto’ Tenor at the Dawn of Romanticism. James Radomski Get access Mark Everist Mark Everist Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 83, Issue 1, February 2002, Pages 119–122, https://doi.org/10.1093/ml/83.1.119 Published: 01 February 2002
The Cambridge Companion to Berlioz
Journal Article The Cambridge Companion to Berlioz Get access Mark Everist, Mark Everist Search for other works by this author on: Oxford Academic Google Scholar Peter Bloom Peter Bloom Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 83, Issue 1, February 2002, Pages 123–128, https://doi.org/10.1093/ml/83.1.123 Published: 01 February 2002
Scribes & Pharisees
Theatres of litigation: Stage music at the Théâtre de la Renaissance, 1838–1840
From 1807 to 1864, Parisian music drama was governed by a system of licences that controlled the repertory of its three main lyric theatres: the Opéra (variously Académie Royale, Nationale and Impériale de Musique), the Théâtre-Italien and the Opéra-Comique. Between 1838 and 1840, the Théâtre de la Renaissance gained a licence to put on stage music, and quickly succeeded in establishing a reputation for energetic management, imaginative programmi…
The Horse, the Clerk and the Lyric: The Musicography of the Thirteenth and Fourteenth Centuries
IT is not hard to find reports of a crisis in medieval musicology. As recently as 2001, readers of what is perhaps the most widely read scholarly journal in the anglophone musicological world were invited by Judith A. Peraino to re-read Joseph Kerman's comfortable elision of 'positivism' and 'medievalism' in the light of the writings of others quick to entertain adverse criticism of the discipline. Hardly surprisingly, the identification of crisi…
Motets, French Tenors, and the Polyphonic Chanson ca. 1300
Despite frequent attempts to explain the emergence of a coherent type of polyphonic song in the early 14th century, our understanding is dominated by views drawn from lyric poetry, romance, criticism of musical and literary register, traditions of performance, and other abstract conceptualizations of this remarkable moment in the history of music. But there exists an extensive body of musical evidence that points to an energetic and sophisticated…
Gautier de Coinci: Miracles, Music, and Manuscripts . Kathy M. Krause , Alison Stones
The Cambridge companion to medieval music
Machaut’s Musical Heritage
Machaut's musical heritage is uneven, in terms both of its sources and in the degree of continuity to which those sources seem to point. A good case can be made for acknowledging a greater continuity between Machaut's motets and his predecessors. In some cases, the Hoquetus David for example, Machaut's heritage serves as a point of reference in a conscious effort to revive the past. Nowhere does understanding Machaut's heritage more fraught than …
The Cambridge History of Medieval Music
Spanning a millennium of musical history, this monumental volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of the liturgy, to the riches of the vernacular song of the trouvères and troubadours. Alongside …
Cambridge History of Medieval Music
Cosmopolitanism and music for the theatre
The most cursory studies of nineteenth-century musical cultures betray an enormous mismatch between this view of ‘Teutonic Universalism’ and the reality of the cosmopolitan basis for almost everything that underpinned quotidian musical life. ‘Cosmopolitanism’ has been a term at the centre of much thought in the social sciences for a quarter of a century, and has recently taken on the same mystique in music as a number of concepts and authors that…
Art (37 works) · Literature (22 works) · History (19 works) · Musicology and Musical Analysis (16 works) · Visual arts (14 works) · Art history (13 works) · Musical (11 works) · Historical and Literary Studies (9 works) · Humanities (8 works) · Philosophy (8 works)