Acc1 responsables
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Acc1 responsables
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Cont1 secrétariat
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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
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M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev9 gluck
Rev9b giron
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The fictional writings of Johann Peter Burmeister-Lyser have largely been ignored by musicologists because of their historical inaccuracies and questionable literary quality. Yet when we examine his story « Gluck in Paris » within the cultural context of the Biedermeier period in which it was written, it becomes evident that the work alludes to and reitereates many of the themes running throughout the reception of Christoph Gluck from the 1820s to the 1840s. Lyser, along with other German and French writers, manipulates and appropriates Gluck’s biography and his role in the Querelle des Gluckistes et des Piccinnistes in order to portray a German composer bent on the transformation of French opera. Ultimately « Gluck in Paris » reveals as much about the author and his culture as it does about Gluck.

Les Lumières et la culture musicale européenne :

C.W. Gluck

N° 9 d

Eric Schneeman

University of Southern California

"Gluck in Paris" :Johann Peter Burmeister-Lyser and the Reception of Christoph Gluck in the Biedermeier Period


Caroline Giron-Panel
Caroline Giron-Panel - "On peut arriver en Italie en passant par la Bohème"

Sylvie Le Moël
Sylvie Le Moël - Gluck et les publicistes des Lumières allemandes

Eric Scheeman
Eric Scheeman - "Gluck in Paris"

Timothée Picard
Timothée Picard - Gluck, scènes littéraires


Cécile Champonnois
Cécile Champonnois - Nicolas François Guillard

Julien Garde
Julien Garde - Iphigénie en Tauride et l'opera seria

Laurine Quetin
Laurine Quetin - "Adieu donc mon cher poulet"

Pierre Degott
Pierre Degott - Les fortunes d'Orfeo ed Euridice sur la scène anglaise