The First Performance of Haydn’s ‘Paris’ Symphonies

Lister, Warwick

doi:10.1017/s1478570604000168

Cited by 58 publications

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“…Banat (2006) noted that this commissioned work is currently known as the Paris Symphony (1778). It is to be noted, too, that Saint-George was the first to negotiate the contracts with Austrian composer Joseph Haydn to commission his Paris Symphonies (1785–1786) (Lister, 2004; Quoy-Bodin, 1984). It is through Saint-George, then, that Mozart and Haydn were received in Paris.…”

Section: Two Apologies For Black Mozartmentioning

confidence: 99%

Joseph Boulogne, the Chevalier de Saint-George and the Problem With Black Mozart

Ledford

2019

Journal of Black Studies

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This article discourages the implementation and use of the term Black Mozart as a popular descriptor for, arguably, the most influential Black composer, violinist, and fencer in 18th-century France: Joseph Boulogne, the Chevalier de Saint-George. By theorizing the term Black Mozart in the discursive frameworks of Fanon’s Black Skin, White Masks, Sartre’s Black Orpheus, and Ter Ellingson’s Myth of the Noble Savage, I reveal the epistemological and ontological problems that the term presents. I find that, while Black Mozart is a clever way of drawing attention to Saint-George’s music and, subsequently, his life, the term occludes the critical treatment of the Black subject to the point of erasure: Saint-George is replaced by a mythicized inferior of the status quo’s perfect symbol of 18th-century classical music. I conclude that by removing the yoke of Mozart’s influence on the reception of Saint-George, we expose him to the fullness of our critical reasoning and restore to him the name he earned for all his talents, trials, and triumphs.

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Section: Two Apologies For Black Mozartmentioning

confidence: 99%