Steven Huebner
Biographic Data
| ID | 3910107 |
|---|---|
| NAME | Steven Huebner |
| GIVEN NAMES | Steven |
| FAMILY NAME | Huebner |
| SIGNATURE | HUEBNER S |
| AFFILIATIONS | McGill University |
| ORCID | 0000-0001-6169-3865 |
| VERIFIED | Yes |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 15 |
| WORKS AS EDITOR | 2 |
| FIRST PUBLICATION YEAR | 1983 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 1 |
Artistic Migration and Identity in Paris, 1870-1940 / Migration artistique et identité à Paris, 1870-1940
By the early twentieth century Paris had become the well-established cultural promised land for generations of Latin American writers, and composers, who flocked to the French capital to experience first-hand the European culture which it was then fashionable to emulate. By the 1920s, the relationship of Frenchified Latin Americans with European, and specifically Parisian cultural influences was becoming more complex as a result of an increasing …
Giacomo Puccini, Manon Lescaut, Dramma lirico in Quattro atti
Roger Parker’s edition of Manon Lescaut is the inaugural volume in the complete critical edition of the operas of Giacomo Puccini to be published as a series by Ricordi. Manon Lescaut is a particularly egregious example of substantial editorial challenges caused by the composer’s incessant revisionary impulse. Things were messy from the beginning—no fewer than seven people had a hand in the libretto—and Puccini (and also Toscanini, with his appro…
Francis Poulenc’s ‘Dialogues des Carmélites’
Francis Poulenc based his opera Dialogues des Carm e ́ lites on an eponymous screenplay by the novelist and essayist Georges Bernanos, for whose work he claimed to have an affinity. Taking into account the post-war context for Bernanos’s activities as a public intellectual, this study explores how his Catholic ideology informs Poulenc’s music and dramaturgy. The writer’s views on technology, power, tradition, French history, suffering, divine gra…
French Music, Culture, and National Identity, 1870-1939
New, insightful essays from musicologists, historians, art historians, and literary scholars reconsider the relationship of Debussy, Gauguin, Zola, and other great French creative artists to cultural and political trends during the Third Republic.
French Opera at the Fin De Siecle
"Molière "Librettist
Si la musique composee par Charles Gounod sur le texte en prose du George Dandin de Moliere n'a ete que recemment mise a la disposition des chercheurs, les critiques connaissent depuis longtemps la preface a la partition, publiee separement, dans laquelle Gounod defend l'utilisation de la prose dans les livrets d'opera. L'apparition d'importantes parties de la partition autographe de cet opera comique inacheve permet desormais de confronter les p…
Vincent d'Indy and Moral Order
This chapter focuses on Vincent d'Indy's ideas. D'Indy also implied that the trend initiated by Renaissance music, where pride fed on populist musical discourse, was exploited by Jews in the burgeoning mass-market economy of the 19th century.
Écrits sur la Musique 1827-1846
After 1850 at the Paris Opéra
In his review of the world première of Jules Massenet's Le Cid (1885) at the Opéra, the critic Victor Wilder took the composer to task for smothering Corneille's tragedy ‘with all the spices customarily used to season that indigestible dish called grand opera’. Wilder listed the ingredients he detected: religious scene, formal ballet (‘for the enjoyment of abonnés [subscribers] who arrive late’), Moorish dancing girls in a military camp, the fant…
Nonne sanglante, La
Gounod, Charles-François (opera)
Zola the Sower
Journal Article Zola the Sower Get access Steven Huebner Steven Huebner Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 83, Issue 1, February 2002, Pages 75–105, https://doi.org/10.1093/ml/83.1.75 Published: 01 February 2002
Chabrier, (Alexis-)Emmanuel
Gounod, Charles-François
Lyric Form in Ottocento Opera
In a study of Verdi's debt to Bellini published over 20 years ago, Friedrich Lippmann set the course for subsequent investigations of phrase structure in ottocento opera by using letters to describe the archetypal shape of many melodies written by Italian composers after 1830. He identified the most common pattern in the music of Bellini and the young Verdi as a1 a2 b a2, in which each letter represents a four-bar phrase in a prototypical 16-bar …
Opera Audiences in Paris 1830–1870
Journal Article OPERA AUDIENCES IN PARIS 1830–1870 Get access STEVEN HUEBNER STEVEN HUEBNER Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 70, Issue 2, May 1989, Pages 206–225, https://doi.org/10.1093/ml/70.2.206 Published: 01 May 1989
Mireille Revisited
Francis Poulenc’s ‘Dialogues des Carmélites’
Francis Poulenc based his opera Dialogues des Carm e ́ lites on an eponymous screenplay by the novelist and essayist Georges Bernanos, for whose work he claimed to have an affinity. Taking into account the post-war context for Bernanos’s activities as a public intellectual, this study explores how his Catholic ideology informs Poulenc’s music and dramaturgy. The writer’s views on technology, power, tradition, French history, suffering, divine gra…
Mireille Revisited
Opera Audiences in Paris 1830–1870
Journal Article OPERA AUDIENCES IN PARIS 1830–1870 Get access STEVEN HUEBNER STEVEN HUEBNER Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 70, Issue 2, May 1989, Pages 206–225, https://doi.org/10.1093/ml/70.2.206 Published: 01 May 1989
Lyric Form in Ottocento Opera
In a study of Verdi's debt to Bellini published over 20 years ago, Friedrich Lippmann set the course for subsequent investigations of phrase structure in ottocento opera by using letters to describe the archetypal shape of many melodies written by Italian composers after 1830. He identified the most common pattern in the music of Bellini and the young Verdi as a1 a2 b a2, in which each letter represents a four-bar phrase in a prototypical 16-bar …
Chabrier, (Alexis-)Emmanuel
Gounod, Charles-François
Nonne sanglante, La
Gounod, Charles-François (opera)
Zola the Sower
Journal Article Zola the Sower Get access Steven Huebner Steven Huebner Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 83, Issue 1, February 2002, Pages 75–105, https://doi.org/10.1093/ml/83.1.75 Published: 01 February 2002
After 1850 at the Paris Opéra
In his review of the world première of Jules Massenet's Le Cid (1885) at the Opéra, the critic Victor Wilder took the composer to task for smothering Corneille's tragedy ‘with all the spices customarily used to season that indigestible dish called grand opera’. Wilder listed the ingredients he detected: religious scene, formal ballet (‘for the enjoyment of abonnés [subscribers] who arrive late’), Moorish dancing girls in a military camp, the fant…
Vincent d'Indy and Moral Order
This chapter focuses on Vincent d'Indy's ideas. D'Indy also implied that the trend initiated by Renaissance music, where pride fed on populist musical discourse, was exploited by Jews in the burgeoning mass-market economy of the 19th century.
Écrits sur la Musique 1827-1846
French Opera at the Fin De Siecle
"Molière "Librettist
Si la musique composee par Charles Gounod sur le texte en prose du George Dandin de Moliere n'a ete que recemment mise a la disposition des chercheurs, les critiques connaissent depuis longtemps la preface a la partition, publiee separement, dans laquelle Gounod defend l'utilisation de la prose dans les livrets d'opera. L'apparition d'importantes parties de la partition autographe de cet opera comique inacheve permet desormais de confronter les p…
French Music, Culture, and National Identity, 1870-1939
New, insightful essays from musicologists, historians, art historians, and literary scholars reconsider the relationship of Debussy, Gauguin, Zola, and other great French creative artists to cultural and political trends during the Third Republic.
Francis Poulenc’s ‘Dialogues des Carmélites’
Francis Poulenc based his opera Dialogues des Carm e ́ lites on an eponymous screenplay by the novelist and essayist Georges Bernanos, for whose work he claimed to have an affinity. Taking into account the post-war context for Bernanos’s activities as a public intellectual, this study explores how his Catholic ideology informs Poulenc’s music and dramaturgy. The writer’s views on technology, power, tradition, French history, suffering, divine gra…
Giacomo Puccini, Manon Lescaut, Dramma lirico in Quattro atti
Roger Parker’s edition of Manon Lescaut is the inaugural volume in the complete critical edition of the operas of Giacomo Puccini to be published as a series by Ricordi. Manon Lescaut is a particularly egregious example of substantial editorial challenges caused by the composer’s incessant revisionary impulse. Things were messy from the beginning—no fewer than seven people had a hand in the libretto—and Puccini (and also Toscanini, with his appro…
Artistic Migration and Identity in Paris, 1870-1940 / Migration artistique et identité à Paris, 1870-1940
By the early twentieth century Paris had become the well-established cultural promised land for generations of Latin American writers, and composers, who flocked to the French capital to experience first-hand the European culture which it was then fashionable to emulate. By the 1920s, the relationship of Frenchified Latin Americans with European, and specifically Parisian cultural influences was becoming more complex as a result of an increasing …
Art (14 works) · Art history (11 works) · Musicology and Musical Analysis (9 works) · Opera (7 works) · History (6 works) · Literature (6 works) · Historical and Literary Studies (5 works) · Historical Studies and Socio-cultural Analysis (5 works) · Aesthetics (4 works) · Humanities (4 works)