Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev14 haendel
Rev14 preface
Rev14 burrows
Rev14 gier
Rev14 salvia
Rev14 landgraf
Rev14 degott
Rev14 gardner
Rev14 burden
Rev14 robins
Rev14 duguet
Rev14 tchorek
Rev14 young
Rev14 couderc
Rev14 heberle
Rev14 curkovic
Rev14 zorica
Rev14 cubas
Rev14 vincent
Rev14 deconinck
Rev14 dubois

Whereas the Handelian tradition in France dates back to the end of the eighteenth century, the first performances of his organ concertos remain associated with the organ recitals given at the Trocadéro by Alexandre Guilmant in June 1878. Guilmant saw them as a way to popularize both an ancient and a modern repertoire at the same time. The fact that Handel’s concertos were regularly programmed testifies to a growing interest in his instrumental music. Parisian audiences, who always paid due attention to occasions where Handel was celebrated through the performance of his oratorios in England, were then discovering a new repertoire. What ways did this discovery follow and what was its frequency? What process triggered these movements? In short, what were the factors that facilitated the introduction of Handel’s concerti in France? To answer these questions, one must ground one’s study upon the theories of cultural transfer, which will enable one to take into account the context on both the exporting and the receiving ends (Britain and France respectively), and to determine the role and influence of the various artistic and social mediators and the nature of the mediums used (Handelian biography, press, scores). The artistic and economic challenges that encouraged that phenomenon of appropriation are also studied. This study of transfer based upon the particular case of Handel’s organ concertos testifies to the dynamism of inter-cultural exchanges between England and France and to the intentions and motivations of the actors themselves (William T. Best, Jacques-N. Lemmens and Alexandre Guilmant among others) in the second half of the nineteenth century.


Haendel après Haendel :

Construction, renommée, influence de Haendel et de la figure haendélienne

N° 14m

Denis Tchorek

Université François-Rabelais de Tours

Un exemple de transfert culturel : l'introduction des concertos pour orgue de Haendel dans le répertoire des concerts en France au XIXème siècle



Donald Burrows
Donald Burrows - Turning the Handel

Albert Gier
Albert Gier - Haendel à Karlsruhe

Adrian La Salvia
Adrian La Salvia - La Renaissance de Haendel au miroir des traductions

Annette Landgraf
Annette Landgraf - The German Belletristic Literature about Handel

Pierre Degott
Pierre Degott - From Facts to Fiction

Matthew Gardner
Matthew Gardner - The Great Mr Handel

Michael Burden
Michael Burden - When Giulio Cesare was not Handel's Giulio Cesare

Brian Robins
Brian Robins - John Marsh and Handel

Lionel Duguet
Lionel Duguet - La réception du Messie en France au XIXème siècle

Denis Tchorek
Denis Tchorek - Un exemple de transfert culturel

Steven Young
Steven Young - Handel Redux

Gilles Couderc
Gilles Couderc - Move over, Handel!

Jean-Philippe Heberlé
Jean-Philippe Heberlé - L'héritage haendélien et Michael Tippett

Ivan Curkovic
Ivan Curkovic - Men and/or Women

Maja Vukusic Zorica
Maja Vukusic Zorica - Les périgrinations du genre

Yaiza Bermudez Cubas
Yaiza Bermudez Cubas - Reflexiones de la musica del Haendel en el cine

Nathalie Vincent-Arnaud
Nathalie Vincent-Arnaud - Les métamorphoses de Terpsichore

Françoise Deconinck
Françoise Deconinck - Sharp, Haendel, Nares et les autres

Pierre Dubois
Pierre Dubois - The Changing Faces of Handelian Historiography