Counterrevolution in Concert: Music and Political Dissent in Revolutionary France - Michael McClellan

Counterrevolution in Concert: Music and Political Dissent in Revolutionary France Author(s): Michael E.
McClellan Source: The Musical Quarterly, Vol. 80, No. 1 (Spring, 1996), pp. 31-57 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/742527 . Accessed: 20/09/2013 20:35
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MusicandCulture
inConcert: Counterrevolution Dissent andPolitical Music

France in Revolutionary
E. McClellan Michael
Ah! quede jouissance le Concert! Nousoffre arts dansla France Auxbeaux estouvert; Un asyle concert Oui,parce charmant arts dansla France, Auxbeaux estouvert. Un asyle us!A refuge arts is the concert Ah!what for fine [atthe offers pleasure Feydeau] ThiMtre a refuge the arts isopen in this concert inFrance. Yes,through for fine delightful open France. Le concert dela rueFeydeau -HectorChaussier andAlphonse Martainville, dupainplut6t Donne-nous quede la et desconcerts. musique andconcerts. Give usbread instead ofmusic -A taunt in shouted at a member oftheNational cited Convention, Paris la le thermidorienne et sous reaction Aulard, ed., Alphonse pendant '& directoire: Recueil dedocuments de Paris l'histoire pour public l'esprit
as much havemusical constergenerated Rarely performances political as in Paris theThermidorean nation Reaction andthefirst during The politicization ofParisian which hadaccelertheaters, Directory.1 in thetransformation theTerror, culminated atedunder ofthecity's for auditoriums into forums One theater, debate. theTheideological atre for a tumultuous series of Feydeau, gained notoriety particular concerts that attracted audiences for their as political significance their musical much as for excellence.2 As thequotations aboveindisuch as the Feydeau's concertsconstituted cate, musical performances series at the Feydeau, dependingon one's viewpoint,represented the
a cultural field on whichpolitical battles werefought. The concert
return ofpolitical and cultural or signified the stability supremacy of amid the chaos of reaction. degeneration society political
31
32 TheMusical Quarterly
in 1794,theFrench thecollapse oftheTerror Following governin a state ment onceagain found itself ofcrisis. Acrimonious political between ofcompeting characterized the fighting proponents ideologies Thermidorean Reaction andearly The men who successDirectory. ousted andSaint-Just on 9 thermidor II Couthon, fully Robespierre, no single orpolitical The (27 July 1794)represented party faction.3 leaders ofthecoupwere all regicide of who,in theprocess republicans the found themselves dismantling Terror, working alongside royalists, andevenradical revolutionaries whohadbecome disilconservatives, with andfearful oftheextremist lusioned policies implemented bythe Public Committee for Fortheremainder of1794andmost of Safety. ofgovernment between the extremes 1795thependulum swung repreThe popular andradical revolution. ofthe sented byroyalism uprisings in thefollowing of1795as wellas theroyalist revolt autumn spring reflected thedifficulties that theThermidorean andits government to steer theDirectory, faced as they a moderate successor, attempted to resist domination The course. Directory, designed byany political in itslegisinefficient andineffectual remained faction, single political oftheDirectory often hadto theleaders lative Indeed, dealings. extraconstitutional maneuvers that resolve through pressing problems claimed to and that it the support seriously compromised principles The government's foundation. itsownideological weakened thereby which became a inherent dissent, instability widespread produced as various oftheFrench feature constant ideologilandscape political control ofthestate. endeavored to seize cal camps in postofthepolitical nature Due to thecumbersome process in which to other venues Terror France, sought parties opposition Prominent these dissentdissatisfaction. their among political express of From the fall wasthejeunesse youth). (gilded ingfactions dor&e flexed activists anti-Terrorist of1795these most 1794through young to fight.4 outJacobins their they sought political muscle--literally--as behavior toward the Terror and for the Their patronizing contempt matched for all egalitarian a distaste values, only by betrayed poor the whochampioned toward condescension their anyone arrogant thetrapThesemenadopted virtues ofsocialandpolitical equality.5 devoted As of emblems and leisure as of wealth prestige. spaces pings ofParis the theaters and cultural to public representation, performance to demonstrate dorde a physical thejeunesse offered spacein which
both. suchas theprocess examines This article bywhichreactionaries in musicotheatrical certain dorde thejeunesse symbols manipulated ideoland to articulate their cultural rhetoric to enhancetheir order
Counterrevolution inConcert33
I focus on theconcert seasons ofYearIII (1794-95) ogy.Specifically, Theatre Between thetwo andYearV (1796-97)at the Feydeau. a succession alsooccurred ofdisturbances at sevseries there concert theaters in which rival factions within audiences eralParisian political Thisso-called their taunted bysinging partisan songs. counterparts in when of considered connection with des chansons 1795-96, guerre three of twoconcert theFeydeau's seasons, years uninterproduced Theseinstances dissent. ofmusical reactionary appropriation rupted andcultural shift that altered French socia political chart completely In in order to understand this we must the mid-1790s. change ety events to conservatives andwhat these musical analyze why appealed their ofsuch thereactionaries through accomplished exploitation cultural signs. The Theatre Feydeau and the Politics of Reaction thegovernment oftheTerror itsexistence, hadencourThroughout of dramas that would the generate aged production political republican theFrench Thispoliticization enthusiasm ofthe citizenry.6 among in turn with content overtly through republican produced stage plays thecollapse oftheTerror, audiences. Following theatergopoliticized whohadgrown accustomed to theaters as arenas ofovert ers, ideologicontinued to react to theatrical entertainments cal debate, politically. 9 thermidor, after in Audience reflected theshift however, reception winds that hadbrought an endto theTerror.7 Under the political Thermidorean voiced conservativeregime, theatergoers frequently - sentiments evenopenly that thegovernment counterrevolutionary or unable to unwilling suppress. proved Whenconfronted values associbydramas celebrating republican atedwith theTerror, reactionaries within theaudience often with violence. Policereports listvandalism anddisorderliresponded nessas typical behavior for thejeunesse doree thetheater. attending in Parisian mencongregated Theseyoung salles despectacles notmerely to entertain butalsoto express themselves their views within political that as their In thefirst own.8 spaces they loudly public proclaimed of1795,for months small ofjeunesse doree amused example, groups
themselves thebusts ofrevolutionary heroesthatgraced bysmashing the auditoriums ofnearly Parisian theater.9 Rather thandefend every itself ofTerrorist the government authoritarianism, against charges allowedsuchdisplays of antirepublican sentiment to proceedmoreor lessunimpeded.
The scrupulous carethat thepost-Terror took to government thepolicies ofYearII (1793-94)reflected itself from its distinguish situation. The onepoint thediverse delicate ofagreement among that 9 thermidor interests II wasan averemerged following political A widerange sionto all radical forms ofrepublicanism. ofideological were unified under the anti-Terrorist banner. therefore, stances, Any ofgovernmental for orcontinuity with theTerror suggestion support 10Opposition severe criticism from several directions. generated parcould discredit it with ties, therefore, bycharging thegovernment Terrorist which didfrom therelative they sympathies, frequently oftheatrical auditoriums. safety in particular Ofall Parisian theTheatre theaters, Feydeau ofanti-Terrorist as a locus andevencounterreva reputation acquired oftheFeydeau to these factions was activity. olutionary 11The appeal A number offactors notaccidental. combined to earnitthis conserwere vative nottheleast ofwhich itstiesto thecourt approbation, hadoriginally beennamed theTheatre ofLouisXVI. The theater de after ofProvence, theking's Monsieur thecount brother andpatron in The name waschanged to theTheatre ofthetheater. Feydeau been while after the had at Varennes 1792 royal family captured Thishistory ofprincely to flee thecountry. attempting patronage, in theeyes ofrepublican officials hadmade theFeydeau which suspect now to as well as to less the Terror, throughout appealed royalists them this theater a logical to reactionaries andmade extreme placefor assemble. itsposition as an attractive reacThe Feydeau confirmed solidly in 1795byoffering itsstage to theactors ofthe venue early tionary theComedie the de la Nation, formerly During Frangaise. Theatre execution for their these actors had Terror, narrowly escaped preafter their release from sumed Shortly prison, royalist sympathies. with theadministration ofthe a contract these same signed com.diens on to to which the actors agreed according perform Feydeau Theatre while calendar a of the theeven-numbered separate days republican on theodd-numbered to perform continued ofsingers operas troupe 12The persecution ofthe ofthese actors bythegovernment days. Their Thermidorean Terror enhanced their society. among reputation a badge ofhonor. nowbecame incarceration former upon Capitalizing old of the Comedie the actors their anti-Terrorists, among popularity
dramas thathad been outlawed several during programmed Frangaise
Year II.13
the assured bythe comediens Although performances regular it was theFeyofreactionary of a loyalfollowing patrons, Feydeau
inConcert35 Counterrevolution
to draw thegreatest ofYearIII that series concert deau's represented of the administration in the fall of audiences. these 1794, Beginning the in a basis on to offer concerts theTheatre regular began Feydeau 8 April From theendofDecember 1794through placeofopera. 14 of tendays. No other a concert offered part 1795,thetheater every antias much enthusiasm theFeydeau's among inspired repertoire the the of on as much oraroused Terrorists governpart suspicion their these concerts To understand ment. gained justhowandwhy of life the concert we needto examine history immediately notoriety, theTerror. to andduring prior Concert Performanceand the Revolution in Paris wastheConcerts ofconcerts series The lastregular given themonUnder after which hadbeendiscontinued 1790.15 Spirituels, those times ofthe concerts at these had mounted archy entrepreneurs in observance of closed was when the religious important year Opera Because andPurification. feasts suchas Easter, Christmas, Pentecost, theConcerts with oftheir association observances, Spirituels religious works. in addition to secular instrumental vocalmusic sacred included concert oftheConcerts After 1790andthediscontinuation Spirituels, drafrom thestandard an atypical departure represented performance in Paris.16 fare offered andoperatic matic ofconcerts with association The historical religious injunctions contributed to thediscontinuatheatrical largely performance against theRevolution. tionoftheConcerts 17The public during Spirituels with as wellas with concert identified politics performance reactionary an theFeydeau ofthechurch. theinfluence is So when programmed of for theevening of25 March concert orchestral 1794,in themiddle criticized a itwasimmediately theTerror, by republican journalist. 25 calendar outthat to thechurch The critic according pointed andthat the oftheAnnunciation March wasthefeast during ancien on this to the concerts hadbeenperformed dayin deference regime The reviewer theTheatre to ofthefeast. urged Feydeau solemnity avoid the revival its lack of and of acknowledge judgment scrupulously in the future.19 this practice superstitious connection between concerts andthe Giventhetraditional
series concert of thatthe Feydeau's it is not surprising ancienrigime, sectors ofthe becamefashionable Year III quickly amongreactionary to pre-Terror a pointofreference represented public.These concerts the perforultraconservatives and other forroyalists France.Moreover, era. In and prerevolutionary back to a prerepublican mancesharked
ofthis concert audiences fact, recognition conspicuously displayed in order wealth to distance themselves from theausterity associtheir in the atedwith theTerror. reviews oftheconcert season Indeed, about theconspicuous excess exhibited by press complained republican members. One reviewer remarked that "itseemed to meto audience I thought I haddreamt be a scene from thetimes ofthemonarchy! in a newspaper Thisreview, which with theRevolution."20 appeared that the theater crowd moderate republican sympathies, implied andunaltered that remained unaffected bytheenormous changes from France hadexperienced 1789through 1794. themusic andthemusicians In contrast to theaudience, both these oftheParisian received thepraise Nevertheless, exprespress.21 One reviewer content. were notwithout sions ofapproval political celebrated for their excelconcerts at theFeydeau, that noted "[t]he time ofdictatorial thecalamitous were lence, tyrduring suspended more than beenrevived with haverecently splendor anny. They connected theYearIII In this review thejournalist ever."22 tacitly Concerts to the concerts at theTheatre thereby Spirituels, Feydeau The associations. andanti-Jacobin both thetheater pre-Terror giving and that theTheatre overlooked thefact however, reviewer, Feydeau In the last at best. had a tenuous theConcerts relationship Spirituels in were Concerts the of their existence, Spirituels performedthe years housed which Tuileries of the des Machines Salle concurrently palace, shared thesame audithefact that theTheatre they Feydeau. Despite andconitsownadministration maintained eachenterprise torium, Concert After thefinal itsperformers tracted Spirituel separately.23 the in May1790,theTheatre hadbeenperformed (then Feydeau Concerts name of the had the de Monsieur) employed SpiriTheatre in 1791.But ofconcerts series in order to sellitsownshort-lived tuels the useoftheConcerts from this aside name, Spirituels' opportunistic connection to the bore no at theTheatre 1791performances Feydeau series.24 concert defunct then had that theTerrorists review alsosuggests The aforementioned an aesthetandsubstituted concert performance suppressed egregiously in concerts The musical mode of inferior Feydeau's expression. ically oftheTerror themistakes rectified YearIII, he implied, byreclaiming theFeyarticle this ofthepast.In short, theexcellence represented
Year III and pre-Terror a linkbetween as establishing deau'sconcerts ofa widerangeof the political suited Francethatneatly purposes at theseconcerts, therefore, reactionary opinion.Theirattendance and all those oftheTerror a rejection an act ofdissent, constituted
associated with it.25
to celebrate the achievements ofthe Republicin a manner so reminiscentofTerrorist cultural policies. Reviews ofthe concerts theperformances and effusively praised out the soloists foracclaim.In general, reviewers frequently singled deemedthe popularity oftheconcert series to be wellmerited; some
The first concert to be performed at theTheatre Feydeau during theThermidorean Reaction took III (28 October placeon 7 brumaire ofthat theater's orchestra. The 1794)anddrew uponthetalent in of the concert Parisian made no mention of description newspapers concerts or the of series a of concerts. anysubsequent inauguration Ten days drawn from theranks ofthe however, later, performers created Institut de Musique, National theforerunner ofthe recently offered another orchestral Thisperformance concert.26 Conservatoire, wasfree andapparently attracted an unusually crowd.27 On 29 large brumaire November another concert was and III (19 1794) offered, with this a regular concert series wasestablished at the performance Whatdistinguished this event from both thepreviFeydeau. Theatre ousconcerts wasthepresence oftheenormously tenor Pierre popular His at the increased interGarat.28 performances Feydeau Jean public estin theconcerts andinsured audiences.29 Garat immensely capacity hadperformed at court to theRevolution, andduring theTerror prior he hadbeenimprisoned in Rouen.His past, therefore, briefly gave himimpeccable Thermidorean credentials andmade himthedarling ofpolitical reactionaries. thecloseidentification between this Indeed, andhisfans thejeunesse doree earned himthetitle singer among desincroyables."30 oftheYearIII concerts "Coryphee Anydiscussion mentioned this often hisvocalstrength and tenor, inevitably praising agility. The music at theconcerts oftheYearIII season wasa performed mixture ofinstrumental andvocalworks, eachtime with concluding thegreat Garat a popular air.Every concert wasdivided into singing twoparts, eachhalf with a or overcustomarily beginning symphony The orchestral introduction wasthen followed ture.31 byvocalairs, dramatic duets from andsymphonies concertos, excerpted operas, concertantes.32 Instrumental that celebrated in the events pieces great oftheRevolution, suchas Devienne's La history patriotic symphony bataille deJemappes andCatel's chorus La bataille deFleurus, appeared on programs in theseason, butsuchcommemorative early pieces from theconcert The only quickly disappeared repertoire. patriotic work to be performed after 1795wasan Hymne January patriotique, with music for an unspecified the byGluck arranged Clearly, text.33 administration understood that their audiences not Feydeau's preferred
accounts went so far as to labeltheFeydeau concert season as a school ofgoodtaste.34 in this theconcerts fashion thereviewer Bydescribing mocked theaesthetic aims ofthegovernment oftheTerror, which hadworked toconvert theaters intoschools ofmorality. After Thersuch had become The tarnished. of midor, righteous goals Republic Virtue envisioned had failed and as a result byRobespierre miserably, themoralistic ideals associated with itwere nowtainted bycynicism. thegovernment oftheDirectory continued to support Although in theduties efforts to educate theFrench ofcitizenship, theaudience this In oftheFeydeau showed for their the contempt project. eyes oftheperforming arts wasentertainment, andrefinestyle, purpose ment. Goodtaste alonemattered. The administration oftheTheatre aware ofthepopuFeydeau, of these concerts a well-to-do sector of the and larity among public ofthebottom ever conscious used the concerts of as a means line, their revenues andmaintaining a high The boxoffice boosting profile. no passes orfree admissions for theconcerts. wishAnyone accepted was in to attend a concert forced to wait a ticket line for three to ing in order to purchase billet As four hours a single a d'entree.35 result, tickets for a concert at theTheatre became oneofthemost Feydeau in fashionable commodities Parisian circles. to the Owing sought-after demand for tended to congregate near theThetickets, high scalpers ofconcert The presence on theevenings atre Feydeau performances. insured theattention and ofthepolice ofsuchillegal activities further theFeydeau notoriety.36 brought public reflected their The luxury exhibited at theFeydeau bythecrowds within The ostentatious disThermidorean wealth andrank society. with ofrepublican which so starkly theideals contrasted virtue, play, in was decried lauded and either or became starkly politicized quickly at their intermost terms. generous, newspapers, Republican partisan the tobe in badtaste. With ofwealth thedemonstrations preted in memory, inflation at a record winter of1794-95thecoldest high, in the the numbers ofhomeless families andlarge streets, living wasdeemed to be inapproofwealth at theFeydeau bymany flaunting oftheaudithat theexhibitionism Reviewers at best.37 argued priate of from theideals in socialmores anda retreat marked a decline ences women theslippered between The vastdiscrepancy theRevolution.38 the evident andthepoverty andmenin theauditorium justoutside
moraltone to adopta decidedly otherreviewers theater encouraged wrote that"theexcessof One critic audiences. in criticizing concert to insult the the destitute, and appears stimulates envy,troubles finery of citizens."39 The reviewer the of attire and decent majority simple
at concert anddistinction thewealth perforapparent recognized in of suchgreat least the face at mances tobe inherently inegalitarian, need. audiences them Critics oftheFeydeau's as unthinkrepresented on thebasis ofreputatheperformances whoevaluated ingdilettantes merit: had [Garat] when he is than tionrather begun, "Scarcely He still He wants to continue; they byapplause. applaud. interrupted to I wanted hear hubbub of had the amid himclapping. sings methat better than he hadsung Yeteveryone assured impossible! he wastheOrpheus ofFrance."40 Thisdescription offers a that ever, ifsomewhat view oftheconcerts at the rather dismal, exaggerated, itattests theaudience to therolethat Nevertheless, played Feydeau. theater. The offstage in the auditorium wasas much a at that activity itself. as theconcert oftheperformance part for theconcerts thesignifIn stark minimized contrast, apologists theaudience's with andattempted to turn fascination ofluxury icance intoa virtue. fashion
ofluxury seems to us to be decided The great against question political this is theproduct women dressed in silk; that fabric ofour they forget
. . . These bombasts are irritated to see some ourmodemmoralists.
toil andthat inproscribing itwewould shut own andindustry, off a

ofour[national] source wealth.41 major
Suchdefenses oftheFeydeau's were rare. Far audiences, however, the more mentioned ostentation of the newspapers repeatedly Feydeau's audiences andcreated a widespread oftheTheatre impression as a center ofshowy affluence which itsdetractors Feydeau interpreted
to reflect outlook.42 reactionary
Dramatizingthe Concerts The popularity oftheFeydeau's concert series ofYearIII among reacandthejeunesse doree in particular, culminated in a controtionaries, that accentuated thepolitical ofthese versy significance performances. On 1 pluvi6se vaudeville entitled III (20 January 1795)an anonymous
de la rueFeydeau, in whichthe author Le concert criticized severely and them to at the assassins, Jacobins compared premiered Th6itrede Two weeks on 15 III later, pluvi8se (3 February la Cit&-Varietis.43 one oftheboulevard 1795), Audinot's Theatrede l'Ambigu-Comique, another The comedy theaters, premiered playwiththe sametitle.44
ridiculed theaudiences oftheFeydeau concerts andexaggerlightly manners ofthejeunesse atedthefoppish dorde. focuses on a young The story oftheAmbigu-Comique play is with current fad.She who obsessed Dorval, woman, every Addle in this of her to the distress is encouraged mania, husband, bytwo These socialandthefoppish Desrosees. thewealthy friends, Cornelia to attend thenext concert at the that sheneeds itesconvince Addle the in herself within order to establish firmly upper Feydeau Theatre a newand insist that shebuy ofsociety. ranks Moreover, they the Without a specfor occasion. dress extremely expensive expressly the andfail to make tellher, shewillbe ridiculed tacular they gown, To payfor herconcert on theFeydeau's audience. impression requisite herson'sinheritance. decides to borrow attire, money against Addle butno he is furious, hears ofherintent Whenherhusband Adele's mind. or can ofspousal amount Finally, rage pleading change to seehis Dorval sends their as a lastresort, child, Auguste, only needed to turn his documents enters thelegal wife. carrying Auguste it sees fit. of as she that she so over to may dispose patrimony Addle in herhands, future hisfinancial ofherchild At thesight placing howcloseshe realizes She suddenly with is overcome guilt. Addle oftransifor an evening economic cameto trading security Auguste's To the to the She refuses the at money. accept Feydeau. tory pleasure and role of to the returns ofherhusband, relief wife supportive Addle to filled without she had role that the mother, complaint prior doting returns to ask WhenDesrosdes series. with theconcert herobsession and attendthe new decided she has gown buying against why Addle "I ama with sheresponds at theFeydeau, passion: ingtheconcert is here in her son her mother arms], Obviously, my finery."45 [clasping interests.46 hermore lovehasovercome maternal Ad"le's superficial to critimuch found thepremiere The jeunesse attending dorde Desroto thecharacter butthey cizein theplay, especially objected Insulted to satirize intended a vain them.47 bythe sees, dandy clearly of a the within at made play, group young expense jokes Desrosde's the reacted menat thepremiere noisily interrupted They angrily. The a copy oftheplay.48 to burn someone for andclamored actors auditorium to the order restored the theater at on officer duty police to taketheplay he would crowd that theunruly after assuring only
forreview. GeneralSecurity for theCommittee of thepolicereada mesa representative The following evening Le whichhad approved ofGeneralSecurity, theCommittee sagefrom ofthe audiThe majority for de la rueFeydeau concert performance. another afterwards but immediately the letter, ence applauded group
menpushed their forward to thestage. ofyoung Brandishing way the decision ofthe denounced sticks (batons), loudly they walking was immoral and that the committee, dangerous. play complaining theprompter's oftheplay, One ofthedemonstrators copy grabbed the theactors to suspend their Abandoning performance. forcing substituted a pantomime andhastily themanagement scheduled work, Outside ofthetheater several theevening's entertainment. concluded were and taken to the ofthetroublemakers Revolutionary caught Rather district for than ofthat Committee interrogation.49 municipal ofaction intensified the thesituation, this course ultimately diffusing dispute. theTheatre de l'Ambigu-Comique to A few later days attempted la as a last-minute for Le concert de rue Feydeau replacement perform At theCaf6de Chartres, an establishment another frequented play. news which this attracted a mob, marched conservatives, byyoung in order theAmbigu-Comique to demonstrate their toward outrage.50 One ofthemobleaders wasAlphonse an eighteen-yearMartainville, known to havevandalized busts in several oldplaywright ofMarat theaters.51 The police officer stationed at thetheater could notcontheAmbigu-Comique; themobonceit arrived outside theyelling trol ofthecrowd drowned outhisowncallsfor order. thebandof Finally but after the officer on there demonstrators duty dispersed, only agreed to stop theperformance. Le concert dela rueFeydeau became a causecelebre for thejeunesse even the Reactionary political organizations employed dorde. recruits as means of to their One ranks. attracting dispute policeinfortheexperience ofa shopkeeper mant described whohadaccepted an to invitation join"la jeunesse a group whose primary purfrangaise," An anti-Jacobin activist took posewas"toexterminate patriots."52 theshopkeeper to theCaf6desCannoniers, where he wasgreeted by sixother men.Among thesubjects discussed the was they AmbiguofLe concert dela rueFeydeau. One ofthesix Comique's production thesituation theowner Audinot, suggested resolving byassassinating oftheAmbigu-Comique, andthen fire to thetheater. Such setting demands for violent action were of the rhetoric of the typical jeunesse andcontributed to thegrowing tension within theaters.53 dorde thespring of1795few dramatic concluded Throughout performances
without an interruption ofsomesort. The defenders oftheFeydeau's concerts to ultimately responded their detractors another entitled Le de concert byproducing yet play la rueFeydeau.54 One ofthe authors was AlphonseMartainville, the manwho had led the march from theCafe de Chartres to the young
de l'Ambigu-Comique inJanuary ofthat Thisplay year. Theatre theconcerts at theThdatre as a respectable form of depicts Feydeau entertainment that attracted solid citizens whohadsuffered from the oftheTerror. excesses Unlike theother ofthis Martaintitle, plays villeandChaussier's few makes references to theThedtre comedy few aresignificant. itself, Feydeau yetthose From thestart ofthedrama weknow that Monsieur and the Madame characters of the Belval, principal play, planto attend theconcert with their twochildren. a minor Althoughseemingly this is ofenormous when with contrasted theimage point, importance oftheFeydeau's concerts as scenes ofdepravity andamorality. Belval, never he would take his to but that is, family anything goodbourgeois themost wholesome this ofentertainments. Marmeans, By simple theimage oftheFeydeau tainville andChaussier as a family project French citizens theBelvals aredepicted as patriotic theater. Moreover, As theplay to theideals ofa pre-Terror whoadhere republic. opens, the"droits de wesee Madame hersonto study Belval urging in himself to become a better and l'homme" prepare citizen, contrast arecompletely without toJacobins, honor.55 who,in heropinion, unite the The authors ofLe concert dela rueFeydeau ultimately when with the of reaction introduce they family's politics patriotism Albinis a soldier ofMonsieur Belval. a cousin andMadame Albin, In a brief returned from thearmy. airhe expresses whohasrecently in battle the"slaves hispride defended theRepublic at having against hiscredentials as an anti-Terrorist aredemofkings."56 Nonetheless, and of his the music air. Chaussier onstrated simultaneously through dupeuofhissong to thetune of"Reveil setthewords Martainville Albin ofthejeunesse doree. anthem Moreover, pie,"theinfamous ofFrance's series as a sign theFeydeau's concert repeatedly praises theTerror.57 cultural Albin, therefore, Through following resurgence ofthe theanti-Jacobin to accept is encouraged theaudience message as the view the concerts at to and as Feydeau play patriotic Theatre theplay received a ofthat thecultural Although message. expression intoMay to attract crowds itcontinued critical lukewarm response, oftheseason.58 itslastconcert hadgiven theFeydeau 1795, longafter thepolitical discussed above Eachofthethree exploited plays ofthis The concerts theFeydeau's that resonance possessed. meaning
the Feydeau variedfrom dissent repreplayto play,butin all three and indulged thatencouraged forum senteda cultural reactionary it is not surprising oftolerance, Given thisatmosphere opposition. The succession viewedthe Feydeau thatthe government suspiciously. thatbythe Le concert de rue indicates entitled ofdramas Feydeau la
summer of1795theThedtre hadbecome more thana mere Feydeau location ofpolitical it was now a cultural ofreactiondebate; symbol dissent. ary The Theatre Feydeau and the Guerre des Chansons The arguments over thevarious ofLe concert de la rue productions coincided with thestart ofanother cultural which has Feydeau debate, cometobe known as theguerre deschansons. The Revolution had a number ofpopular andsome ofthem, suchas "La inspired songs, "Ah! and were associated with theTerror ira," carmagnole" closely .a actofmusical andmobviolence. As an thejeunesse dorde opposition the"Reveil dupeuple" as their ownanthem. adopted Jean-Marie de Saint-Marc, a young wrote thetext.59 Souriguere playwright, aimed at the of its listeners and Souriguere's lyrics inflaming passions them them in thesecond or,as he described unifying against Jacobins, drinkers ofhuman blood." The text's violent "those verse, images were setto a rather Pierre one of the Gaveaux, jaunty melody by tenors at the The immediate principal Feydeau.60 song gained Theatre andinitiated theguerre deschansons. the notoriety Throughout of1795,audience members at several Parisian theaters spring demanded that orchestras themelody of"Reveil dupeuple" or play that a performer it on Audiences at the were sing stage.61 Feydeau those whodemanded the"Reveil dupeuple" on a prominent among basis.62 regular The public the"Reveil dupeuple" contindisruptions involving uedthroughout theentire summer andintothefall, increasbecoming heated in the 1795.63 ingly Nevertheless, government September avoided conservative factions andin studiously antagonizing political most casesfollowed a course ofbenign The attack neglect. byroyalists on theNational Convention on 5 October before the 1795,shortly oftheConstitution ofYearIII, however, forced the implementation in thegovernment moderates to disassociate themselves from themost conservative The threat ofright-wing to political groups.64 insurgents theequilibrium oftheRepublic ledthenewgovernment to assert its moderate more To indicate that thegovernment position decisively.65
remained in spirit and held firm to the idealsofthe Revorepublican the Executive an order intended to bolster lution, Directory published theperformance ofpatriotic tunes.The republican spirit through decreerequired all theaters to begineach evening withtheperformanceofofficially sanctioned the "Marseillaise," "Ah! songs,naming
as dudepart" andthe"Chant salut de l'empire," gaira,""Veillons
DirectheExecutive In contrast, for this suitable purpose. particularly dupeuof"themurderous thesinging forbade air,the'Reveil tory to arrest Directors the the Furthermore, enjoined police ple'."66 whodemanded ofroyalty, thereturn anyindividuals immediately dismissal ofthe or for the called to an audience rebellion, exhorted government. of thecity theenforced At theaters performances throughout with some factions audience mixed received reaction, songs patriotic hissed andbooedthe"Marseillaise."67 while other groups applauding in the seated decree caused this At theTheatre Feydeau patrons in thetheater-to seats most loudly.68 complain expensive loges-the auditorioftheater theconfines thedispute beyond Eventually spilled Pierre turn. Forexample, took a violent ums andoccasionally theTheatre one of "Reveil du and the of Gaveaux, peuple" composer andbeaten wasattacked best-known tenors, bya bandof Feydeau's Nonetheofthat hisrolein thecreation of'89" for song.69 "patriots thenewpolicy to implement determined remained less,theDirectory mounted theopposition music against despite concerning patriotic Antoine the minister of this To their decision. end, Philippe justice, of administrators letters to thetheater several Merlin de Douai,wrote works that toproduce these in which he urged Paris entrepreneurs to audiences.70 in itspresent theRepublic, endear would Ultiform, include theaters to their order extended Directors the mately, to institute resolve oftheir an indication all ofFrance, throughout of ofthecultural themanipulation their symbols authority through theRepublic.71 its to strengthen In mid-February 1796theDirectory attempted to the evenfurther theaters overParisian control byordering police ordepraved disorder that closeanyestablishment public promoted enforceto thestrict ofthepolitical The response opposition spirit.72 nowtook an unexpected ment oftheDirectory's however, orders, no longer to theDirectory's Individuals turn. disputed policies opposed ideals to references instead, republican directly; authority government 73For "ironic received andoperas in songs, example, applause." plays, therequired at theTheatre audiences performances Feydeau applauded ofsupport show that their certain butmade ofthe"Marseillaise"
either wouldnot be takenat facevalue. Conservatives clappedin a enthusiasm suchoverblown or theydemonstrated lukewarm fashion, of their the insincerity thatno one couldhelp butrecognize applause. wouldapplauda singleline or thejeunessedorde Occasionally a new assumed itscontext from from a songthatwhenripped phrase
anddifferent Forexample, whenever a singer at theFeydeau meaning. the"Marseillaise," these menwould performed young loudly applaud thephrase "Tremblez that those around them undertyrants," insuring stood that thetyrants to whom were referred Likethey republicans.7 the excessive in order to render wise, political right employed applause sentiments inaudible those with which The administhey disagreed.75 tration oftheTheatre in theironic alsoparticipated Feydeau receptionofpatriotic at least when itallowed, much to the music, tacitly, of its an untrained and untalented to audiences, delight singer perform therequired In this thetheater with song.76 way complied technically theDirectory's decree butsimultaneously for the expressed sympathy in theaudience. reactionaries Ofcourse, individuals with republican alsodemonstrated at theFeydeau on occasion, butthe sympathies in that and drew 1796 early picture police reports newspapers sugtheFeydeau's that audience wasmore often than notextremely gested The appropriation oftheThedtre Feydeau byultraconservatives for a transparently thetheater ultimately political purpose brought under closegovernment on 27 1796 scrutiny. Subsequently, February in which theDirectory issued itshut a decree down theFeydeau along with extremist several clubs andassociations.78 The closures political notonly theDirectory's illustrated to maintain order tendency but measures also reflected the through repressive government's peroftheThdatre as a center for zealots. Feydeau ception reactionary Their decision to single outtheFeydeau from all other Parisian among theaters for this form ofcensure that theDirectors viewed suggested theFeydeau as theroyalist to theassociations ofradical counterpart were revolutionaries that closed under thesame decree.79 Theatrical didnotceaseimmediately oncethegovdisruptions ernment closed theThedtre thepatrons oftheFeydeau Feydeau; moved on to theThedtre theTheatre duVaudeville, Louvois, merely andother where in behaved the same mantheaters, they disorderly ner.8so the did not mount in Curiously, jeunesse anyprotest dorde oftheFeydeau, theone theater that hadbeenlinked support directly to their interests. theenforced closure oftheFeydeau coinIndeed, cided with thegradual subsidence oftheatrical disturbances. The
in itspolitical conservative outlook.77
universel the mildresponse of conservacomically depicted Abriviateur tivesto the newsofthe Feydeau's closure:
less! . . . The [I]n the gildedsalons,first theytremble-onetheater nerves of thewomenare frightfully strained. themFinally recovering the two events the of the Pantheon selves,they [i.e., compared closing
46 TheMusical Quarterly of theTheand theclosing association, Club, a radicalrevolutionary ofconsolation givento theJacobins.81
is a sop oftheFeydeau that theclosure atre andit is decided Feydeaul,
in that itpointed out is significant ofthequotation The conclusion with institution associated the the was that Feydeau reactionary only There reason decree. wasa simple under this wasclosed that politics to theright hadshifted somewhat The Directory for this. government in thechoice of wasreflected in theearly of1796,andthis swing part did not the to be closed. establishments Consequently, jeunesse dorde still theclosing ofFeydeau; to fight haveto taketo thestreets they their to express andin which theaters to attend other hadmany politthe closed thegovernment As theAbreviateur icalviews. suggested, thereacleftists as to punish moderate to appease as much Feydeau tionary right. The Directors for wasnotclosed The Theatre long. Feydeau on 1 April itto openitsdoors relented andallowed again quickly that all theaters warned 1796.Nevertheless, any simultaneously they lead to additional could their audiences behavior closings by disruptive and ironic incidents in thefuture.82 Ofcourse, involving applause theFeydeau from didnotimmediately behavior disappear disruptive lessfrequency and with occurred butsuchevents andother theaters, descended The relative calmthat before.83 than lessstridency upon thegrowing of1796represented in thelatespring theaters Parisian thesuccess rather than factions oftheright-wing ofmany confidence had The government them. to silence oftheDirectory's attempts to thethreat ofcounterrevolution thethreat from itsattention turned ofprotests In latespring 1796thenumber ofradical revolutionaries.84 there because ira" declined the "Ah! and the"Marseillaise" over ga of to protest. conservatives a needfor wasno longer Bythesummer itscourse. tohaverun deschansons 1796theguerre appeared The Concertsof Year V hadprevailed fervor that of1796,theantigovernment Bytheautumn no longer des chansons the at theTheatre throughout guerre Feydeau oftheDirectory The movement manner. in a violent itself manifested
and transformed audiences' redirected to the right passions political Instead elitism. ofsocial and political warintoa form thatmusical for as a forum confrontation, ofusingtheTheatreFeydeau political their it as a vehiclein whichto affirm audiences in 1797 appropriated
The lack ofserious musical criticism thatthe social and suggested attached to theperformances concerned audipolitical significance encesmorethanthe musical content ofthe concerts. Audiences typilate and talkedthrough muchof theperformance. callyarrived Only the soundofGarat'svoice transfixed the crowd's attention on stage.92
Once again, over France's cultural a series ofconcontrol symbols. afforded them a means to attain certs at theTheatre Feydeau planned this goal. themusic oftheconcerts Witha few notable ofthe exceptions, resembled that ofYearIII. The theater administration YearV season theYearV concerts oftwoyears modeled on those earlier. clearly Overtures andsymphonies eachhalf ofevery andthe concert, opened thesame. balance ofinstrumental to vocalmusic remained Garat he lured oncemore as thefeatured andagain appeared performer, the In crowds to box contrast to the concert Feydeau's office.85 large the new included series ofYearIII, season's no works with programs titles. Suchdescriptive titles hadalready bythe disappeared patriotic in 1797is not concert so their absence endoftheprevious series, Other included the introduction ofa few works for surprising. changes as wellas theinclusion ofmore than solofortepiano andharp a dozen Italian airs andscenes.86 in YearIII, most As with theconcerts reviewers noted performed theaffluence oftheaudience members andcommented their upon In YearV, however, ofwealth. references to opupretentious display lenceovertook thediscussions ofmusic andmusicians Conentirely. cert reviews became from which critics the surveyed platforms socialcustoms andmores. Critics either audiences prevailing praised decorous for their behavior and or condemned them for gallant beauty their tasteless of of immefashion Anycuriosity parade extravagance. in which caused a "scandal" audience attention focused on an diately hatoran unusual became coiffure.87 outrageous Society preoccupied with couture further andla mode as itretreated andfurther from the severe that such as had advocated. austerity Jacobins Robespierre The various fads andfoibles ofcontemporary Parisian fashion dominated most ofthese reviews andconfined thediscussion ofmusic in some to a few Evenwhen the newspapers concluding sentences.88 were fashions notextreme, most observers found thewomen's apparel tobe more ofcomment thantheperformance.89 One review, worthy which remarked ofwomen in theaudiextensively upontheattire discussion ofthemusic to thesingle that the ence,limited complaint instrumental concertos were "toolong."90 Stillanother whined about thelengthy "musical theses" thesoloinstrumentalists that played.91
thederision of Suchbehavior audiences byconcert provoked dim view of the fashionable the who took a Often, display. journalists while were criticized for their oftheFeydeau ostentation, patrons The harshest critics went ofconthetheater outside hungry.93 people these the circles that that social cert society argued patronized conThe oftheFeydeau's were immoral.94 certs fundamentally complaints rested the their exhibitionism and lavish audience upon assumption The Feydeau's critics wasillgotten. audience, luxury that,the their fortunes from financial hadbuilt assumed, speculation, profiand teering, political corruption. thepublic theconcerts at theFeydeau, of Through consumption ofsocialandpolitical advancement. music became a form Certainly, theancien a similar function hadserved musical during performance oftheFeydeau concerts thehighly nature however, public regime, The that was from a display departure pastpractice. showy represented without could notbe realized a to audiences so important successfully As a result monarchical from a preordained, order.95 spacefree public their oftheFeydeau to demonstrate usedtheauditorium audiences influence. and social status andsubsequent economic political concert series as theappropriate The choice oftheFeydeau's dealto suchostentation, as wehaveseen,oweda great localefor in a The performance ofmusic life to theRevolution. concert prior in itself. a form ofdisplay alsorepresented concert however, format, instruoflimitations In theabsence bya libretto, imposed music--and that in particular--constituted a form ofmusical music mental display Concert ownconcerns.96 suited theaudience's required performance On thecontrary, on a narrative. orfocusing ofdisbelief no suspension in toparticipate theaudience andevenwelcomed allowed concerts In could not in a way that dramatic theevent permit. representation with an the audience concerts theFeydeau's short, opportuprovided as wellas to listen. to perform nity oftheTheatre series The twoconcert bythe Feydeau, separated of Parisian the transformation reflected des chansons, society guerre Direcfirst and the Reaction the Thermidorean occurred that during a in became dissent as form of 1795 What a political began tory.
in 1797. Of course, socialstatus meansofcelebrating antigovernment it in articulated butaudiences sentiment and antirepublican persisted, in the the shift In general, fashion. and lessviolent a moresubtle moveof the thegradual reflected concerts ofthe Feydeau's meaning civic as wellas the increasing thepolitical toward right government ofthe the government whichperceived ofFrench society, apathy to be ineffective. Directory
of1795arose as a part ofthegeneral The theatrical disturbances arrived on the heels of the Terror. mood that the During anti-Jacobin their ideals Reaction conservatives Thermidorean developed political ofthegovernment oftheTerror, in opposition to thepolicies largely for theslightest ofa repubremained andthey constantly vigilant sign Withtheestablishment oftheDirectory andthat licanresurgence. ofrepublican reactionarextremism, government's political repression influence. With no significant iesgained more andmore political in late1795 turned their threat conservatives attention them, facing ofrevolution andreaction. the and 1796to thesymbols Through the des reactionaries of Jacobin guerre chansons, exploited image past their current to advance In doing so they position. oppression political for continued their control. Asidefrom the struggle greater political brief oftheThdatre this maneuver fruitful: Feydeau, closing by proved center the had shifted 1797 early government's political significantly to theright. theconcert series ofYearV thepatrons oftheTheatre During transformed thefight over musical intoan exhibition Feydeau symbols ofpolitical In doing andsocialprominence. notonly so they advertised their of influence their but also future rule position strengthened in French Unlike the of the ancien the consociety. nobility regime, an elitestatus that in birthright. hadno basis On certgoers enjoyed thecontrary, wealth andproperty, the formed acquired byanymeans, influence foundation for andprivilege theDirectory. under Because economic restraint andfrugality hadmarked theTerror, theparade of affluence at theTheatre still constituted an of act Feydeau political to thepolicies oftheYearII. Furthermore, reaction it alsorepresented ofsocialdistinction a display intended to separate well-heeled audiences from theworking which hadcometo personify Terrorist class, In this violence. theconcerts afforded thewealthier members of way theaudience an opportunity to reify both their and political position their socialprominence. In 1795theconcerts at theTheatre Feydeau butwithin thespace dissent, represented unruly reactionary political oftwoyears audiences hadtransformed these musical events intoa manifestation ofelitist socialstrength an through unequivocal display ofprestige andfashion.
Notes
1. TheThermidorean Reaction dates from thecollapse ofthegovernment ofthe Terror on 9 thermidor theConstitu1794).TheThermidoreans produced II (27 July ofYearIII (1794-95),which tion established theDirectory. The first was Directory elected inSept.1795andremained inpower until theelections oftheYear V (spring were made. The Constitution ofYearIII divided the 1797),when large royalist gains
50 TheMusical Quarterly between an executive offive andtwo branch, government Directors, consisting legislative theCouncil ofFiveHundred andtheCouncil ofElders. Theformer assemblies, could butwasunable tocreate law.The latter debated the body propose legislation oftheFiveHundred andcould transform these resolutions into proposed legislation law.Georges TheFrench Revolution 2:160-62. Lefebvre, (London: 1962-64), Routledge, 2. Fora more discussion ofthis theater theRevolution seeMichael thorough during E. McClellan, over theLyric ofRevolution andCounterMuse: "Battling Expressions revolution at theThe*tre ofNorth 1789-1801," (Ph.D. diss., Feydeau, University Carolina at Chapel Hill,1994). 3. Therevolutionaries created a newcalendar that dated all years from theestablishment oftheFrench on 22 September 1792.Forinformation on thedevelopRepublic ment ofthecalendar anditsuseseeService descalculs et de mecanique cdleste Le calendrier De sa creation a sa disparition suivi d'une concordance (France), ripublicain: avec lecalendrier Bureau deslongitudes, (Paris: 1989);andPierre Caron, gregorien Concordance descalendriers etgregorien, Publications de la Socidtd d'histoire ripublicain no. 1 (Paris: moderne, Bellais, 1905). united thejeunesse wastheir aversion 4. What toJacobins. strong Shopkeepdorde lawclerks, andother men ofmoderate means thesons ofthebourgeoisie ers, joined informing andaristocracy these Fora social ofthejeunesse see groups. profile dorde La jeunesse thermidor sous Presses universitaires de France, Gendron, (Paris: Frangois 1983),23-28. 5. Denis TheThermidorean andthe trans. Woronoff, 1794-1799, Regime Directory, 4. Press, Julian Jackson 1983), (Cambridge: Cambridge University 6. Dating theTerror is problematic. TheNational Convention declared officially as theorder oftheday" on 5 September dateseveral "terror 1793;however, bythat associated with theTerror hadalready beenmade. From theexecuchanges political XVIon 21 Jan.1793until 5 Sept.1793theFrench tion ofLouis underwent Republic a gradual ofradicalization inwhat that culminated is commonly referred to as process In contrast, theTerror. theTerror's conclusion is easily identified: itcametoan end with thearrest ofmembers oftheCommittee for Public on 27July 1794. Safety theenormous inflation of1795-96 rate resulted inthedramatic 7. Furthermore, rise intheprice ofadmission to theaters, tickets a Attendance at the making luxury. wasa mark ofwealth anddistinction for thejeunesse In theater, therefore, dorde. III (Feb.-Mar. ticket at theTheatre was7 1795)thehighest-priced vent6se Feydeau while thecheapest cost40 sols.Fivemonths later haddoubled: themost livres, prices seats cost15 livres andtheleast cost2 livres, 10sols.See expensive expensive 18vent6se annonces etavis de III (8 Mar.1795),2808;andJournal divers, Affiches, 22 thermidor III (9 Aug.1795).Fora concise discussion ofFrance's economic Paris, inYearIII seeLefebvre, straits 2:142-45. 8. Alphonse la reaction thermidorienne etsous la directoire: Aulard, ed.,Paris pendant & L. Receuil dedocuments de Paris Cerf, (Paris: 1898-1902), pour l'esprit public l'histoire of13 pluvi6se of4 pluvi6se III (23 Jan.1795),1:416; III (1 Feb.1795), report report andreports of15-17pluvi6se III (3-5 Feb.1795),1:445-54. 1:438; inquestion therevolutionary whose 9. Most often thebust wasofJean-Paul Marat, in thePantheon inorder remains hadbeenplaced government bytheThermidorean from theextreme ofthebusts todistance itself The destruction was,toa large right.
inConcert51 Counterrevolution a direct reaction to this act.The government backed down in theface ofsuch extent, On 8 Feb.1795itdecreed that no individual could receive the civil disobedience. until tenyears after hisdeath. ofthePantheon at least honors 104. Gendron, the TheFrench Revolution Terror: 10. Bronislaw Baczko, after Robespierre, Ending Michel Petheram trans. Press, 1994),234-42. University Cambridge (Cambridge: to theFeydeau never tied 11. The police counterrevolutionary activity any reports thepolice did"invite" on two occasions administration Nevertheless, singers directly. that toexplain comments theTheatre from they Feydeau extemporaneous political in performance, with their for andtheFeydeau's hadad-libbed audiences, propensity Paris a source ofgreat concern tothegovernment. remained Aulard, disorder, pendant of6-8 germinal la rvaction III (26-28Mar.1795),1:600-607. thermidorienne, reports took 12. Their first at theFeydeau III (27 Jan. placeon 8 pluvi6se performance a et la desartistes etl'adSee Memoires 1795). Sageret, comptes relatifs reunion franqais de la de et de ministration destrois l'Od~on, Letellier, (Paris: Feydeau Ripublique, thMctres 1799),9-10. L'ami desloix itsfirst 13. Laya's received at theFeydeau on 6 June performance followed on 24 July these works 1795.Both Pamela 1795, byNeufchateau's shortly in Sept.1794.See Affiches, 25 prairial annonces etavis hadbeenbanned divers, III (13 deParis, 20 prairial and8 III (8 June 1795),5011-12;andJournal 1795),1051, June thermidor III (26 July 1795),1244. divided month calendar into three decadi oftendays each. 14. The republican every TheFeydeau scheduled concerts for theninth nonidi, every dayofeachdecade. 15. Forthehistory oftheConcerts andconcert life under theancien Spirituels seeMarie Bobillier Lesconcerts enFrance sous Brenet, [Michel pseud.], l'ancien rdgime, NewYork: De CapoPress, (Paris: Cucuel, 1970);Georges regime n.p., 1900;reprint, La Pouplini&re au XVIIIeme etla musique dechambre siecle (Paris: Fischbacher, 1913; NewYork: Da CapoPress, Histoire duConcert Pierre, 1974);andConstant reprint, H. Johnson, in 1725-1790 (Paris: 1975).See alsoJames Spirituel, Heugel, Listening A Cultural Paris: of California 71-80. Press, History (Berkeley: University 1995), identifies thevarious ofconcerts in Paris theeighJohnson types performed during teenth andprovides a social oftheir audiences. century profile 16. The Theatre continued tooffer concerts after 1790. Feydeau, notably, public Aside from the Concerts 17. concert theancien Spirituels, performances during most were often events. With theflight ofwealthy regime privately sponsored patrons in theRevolution, this venue See William early performance disappeared. Layton "TheLife andWorks ofFrangois 1759-1803" Devienne, Montgomery, (Ph.D. diss., Catholic ofAmerica, "French Instrumental 1975),25, andBoris University Schwarz, Music between theRevolutions, 1789to 1830"(Ph.D. diss., Columbia University, 1950),9. 18. The connection thereligious between observance andconcert was performance made Marie-Louise-Elisabeth In hermemoirs, she directly bytheartist Vigee-Lebrun. described a concert de la rueClkry) (oneoftheConcerts attending organized byher brother theConsulate. She made a special ofnoting that thehallin during point which theconcerts were hadbeenused theTerror as a makeshift performed during in which masses hadbeencelebrated See Marie-Louisechapel surreptitiously.
52 TheMusical Quarterly Elisabeth Souvenirs deMadame Louise-Elisabeth (Paris: Vigee-Lebrun, Vigee-Lebrun 3:130-31. Fournier, 1835-87), 19. Abreviateur 11 germinal universel, II (31 Mar.1794),1820.
unspectacle 20. "Il mesemblait etre destems A avoir rev la Jecrus monarchiques! 30 Decade frimaire Dec. 527. III (20 1794), Newspaper philosophique, rdvolution." ofthenouveaux riches whoparaded anddefenses at theTheatre Feydeau critiques for two continued thenext years. 21. Thisreviewer theFeydeau tobe oneofa handful oftheaters pronounced capaofthesuperior ofits such a demanding concert series because bleofmounting quality etdes III (1 Nov. desthMdtres orchestral musicians. 11 brumaire Journal nationales, fetes when Viotti critics wasthetheater's director, 1790s, 1795),609-11.Sincetheearly this See the of the musicians who at theater. lauded abilities performed consistently in Paris, andOrchestral Practice 1789-1810" "Orchestration DavidCharlton, (Ph.D. diss., 1973),121-26. University, Cambridge avaient 22. "Lesconcerts de la rueFeydeau, 6t6 parfaite, celkbres parleur execution de reprenilsviennent de la tyrannie calamiteux dansle tems dictatoriale; suspendus 11 desthidtres etdes de splendeur dreavecplus nationales, Journal fetes quejamais." III (1 Nov. 1794),609-10. brumaire of in theSalledesCent-Suisses were 23. TheConcerts initially performed Spirituels in theTuileries, moved tothetheater theTuileries; after 1784were i.e., they only in theTuileries PalDanielHeartz, "TheConcert theSalledesMachines. Spirituel 21 (1993):244. Music ace,"Early 20 Apr.1791,1479;21 Apr.1791,1499; annonces etavis 24. See Affiches, divers, 22 Apr.1791,1512;23 Apr.1791,1524;24 Apr.1791,1535;2 June 1791, 2050; deParis, 17Apr.1791, and12June 428;20 Apr. 1791,2178.See alsoChronique 448. 1791, 440;and22 Apr.1791, 25. Johnson, 140-41. Listening, on 8 Nov. 1793.It provided de musique wasestablished 26. The Institut national on 3 Aug.1795. wasestablished TheConservatoire state occasions. for official music Music EducaandNational de Musique "TheConservatoire M. Gessele, See Cynthia ed. Malcolm inMusic andthe French tioninFrance, Revolution, Boyd 1795-1801," Press, 1992):191-210. University Cambridge (Cambridge: 19brumaire etavis annonces 27. Affiches, divers, III (13 Dec. 1795),931. Conofthelateeighteenth tenors themost famous 28. Garat wasamong century. and this to mention failed the1790s ofParis accounts singer rarely during temporary duXVIIIe siecle a la fin Paris See Jean-Baptiste success. hisphenomenal Pujoulx, PasMessouvenirs Bawr, (Paris: Mathe, 1801),117-20;Alexandrine Sophie (Paris: Colmann 1762-1823 Garat, (Paris: L6vy, sard, 1853),43-53. See alsoPaulLafond, etdel'Empire Portraits dela Revolution Levasseur, (Paris: Nodier, n.d.); andCharles at the ofaudiences Paris: Tallandier, 1989),1:145.Thefascination 1829;reprint, de Unejournee in Louis Madeleine with Garat wasridiculed Theatre Ripault, Feydeau V 175-77. Paris (Paris: Johanneau [1796-97]), Lesmusiques inOrphe etsespublics," "La Revolution 29. Bruno Brevan, phrygien: du 34-35. Editions Klein and ed.J.-R. 1989), dela Revolution, May, (Paris: J.-C. R~my
Counterrevolution inConcert53 deParis, 16 pluvi6se V (4 Feb. 1797),400-401."Incroyables" 30. Petite was poste a labelapplied to those men whosported theexaggerated fashion (enormously high worn hair a la victime, durcravats, sticks, collars, etc.)that green walking appeared inthe See Aileen Fashion French Revolution Ribeiro, (NewYork: ingtheDirectory. La Revolution Furet & Meier, andDenisRichet, Holmes 1988),111-17;andFrangois 280-81. 1973), (Paris: Fayard, franCaise wascommonly to openthefirst ofthe 31. One ofHaydn's chosen half symphonies Fora list ofconcert seeMcClellan, concert. 714-29. performed programs 32. Thesymphonie concertante themost of instrumental genre represented popular La symphonie la seconde duXVIIIe S. Brook, thedecade. dans moitie Barry franqaise Institut de musicologie de l'Universite de Paris, siecle (Paris: 1962),1:395-405. 33. McClellan, 714-29. etavis annonces 23 frimaire and26 34. Affiches, divers, III (13 Dec. 1795),1275, frimaire III (16 Dec. 1795),113. 20 frimaire 35. Decade III (10 Dec. 1795), III (20 493,and30 frimaire philosophique, Dec. 1795),526-27;andJournal desthidtres, 6 pluvi6se III (25 Jan.1795),305-6. 36. Aulard, Paris la reaction of11niv6se thermidorienne, III (31 Dec. pendant report andD&cade 30 frimaire III (20 Dec. 1795),527. 1795),1:351-52; philosophique, ofFrance's economic crisis time seeLefebvre, at this 37. Forbrief 2:142analyses M. G. Sutherland, France Revolution andCounterrevolu1789-1815: 45, andDonald Oxford tion Press, (NewYork: 1986),252-55. University 38. Decade 20 frimaire III (10 Dec. 1795),495,and30 frimaire III (20 philosophique, Dec. 1795),532-35.See alsoWoronoff, 13. 39. "[L]'exces de la parure excite & semble insulter a la l'envie, afflige l'indigent, mise & decents de la majorite descitoyens." annonces etavis 23 divers, simple Affiches, frimaire III (13 Dec. 1795),1275. a-t-il il veut 40. "A peine commence, continue, qu'onl'interrompt pour l'applaudir; il chante on applaudit encore: au milieu dubrouhaha desapplaudissemens. Jevoulais mais tout le monde m'assura chant6 mieux l'entendre; impossible! qu'ilavait quejade France." Decade 30 frimaire mais, la III (20 Dec. quec'6tait philosophique, l'Orphde 1795),530. duluxenous 41. ''La grande etre contre nosmodecid&e question politique paroit . . . Nosdeclamateurs dernes moralistes. s'irritent de voir femmes vetues d'&quelques toffes de soie;et ilsoublient sont le produit de notre et qu'en industrie, queces6toffes lesproscrivant nous nous tarissons unegrande source de richesse nous." Journal pour desthidtres, 6 niv6se III (26 Dec. 1794),163. oftheFeydeau's 42. Reports evenappeared in a German-language wealthy patrons that on theevents ofFrance. Frankreich periodical reported 1795,1:282-83. (Altona) Maurice Lesth~dtres desboulevards, 43. 1789-1848 Albert, (Paris: Soci&td Frangaise Geneva: 1902;reprint, Slatkine, d'Imprimerie, 1969),150-51. andCammaille, Le concert 44. Rend dela rue ou La folie dujour Perin Feydeau, Marchande desnouveautis, an III [1795]). (Paris:
54 TheMusical Quarterly suis 45. "Je sonenfant dans sesbras] voilamaparure." mere and [serrant Perin 29. Cammaille, 46. Adele's ofhermaternal role wasconsistent with values. acceptance republican Activities outside thedomestic hadbeenlabeled bywomen sphere unpatriotic during theTerror, while thework ofmothers andwives within thehome wasextolled. in theRevolution, "Women inFrench andthe Hufton, 1789-1796," Olwen Society ed. D. Johnson Revolution, (Cambridge: Press, Cambridge University 1976),148-66; E. Proctor, Candice andthe French Revolution GreenWomen, Equality, (NewYork: wood TheFamily Romance French Press, Revolu1990),55-66;andLynn Hunt, ofthe tion ofCalifornia (Berkeley: Press, University 1992),89-123. 47. In theplay as a coward whohasavoided service on emerges military Desrosdes thebasis ofbadeyesight. andCammaille, 20-25. Perin oftheperformances 48. Mydescription ofthis work aretaken from Paris Aulard, la reaction of18-19pluvi6se thermidorienne, pendant reports III (6-7 Feb.1795), A brief ofevents is alsofound 1:455-61. inDecade 30 pluvi6se summary philosophique, III (18 Feb. 1795),367-68. Paris 49. Revolutionary wasdivided into localdistricts called sections. forty-eight See Ernest Lessections deParis la Revolution, 21 mai1790-19 Mellie, pendant vend&an IV: Organisation, miaire Au siege de la Soci&te de l'histoire de (Paris: fonctionnement For a briefer of the sections and their role la Revolution 1898). description frangaise, in city seePierre Caron et al., eds.,Paris la Terreur: des politics pendant Rapports secrets duMinistre del'interieur 1910d'histoire (Paris: agents contemporaine, Societd 1:197-98. 1 and2; andCobban, 78), 7: appendixes 50. Aulard, Paris la reaction for 23 pluvi6se thermidorienne, III (11 pendant report Feb.1795),1:470-71. Paris la reaction for 16pluvi6se 51. Aulard, thermidorienne, pendant report III (4 Feb. 1795),1:450. 52. Aulard, Paris la reaction for 23 pluvi6se III (11 thermidorienne, pendant report Feb. 1795),1:472. 53. A police described a performance at theTheatre de Vari&tes which report during conservatives to theaudience's show ofsupport for responded Jacobins byshouting, "Thetime when wewillwalk in [the Paris blood!" Aulard, approaches Jacobins'] la reaction for 7 vent6se thermidorienne, pendant report III (24 Feb.1795),1:506. Chaussier andAlphonse Le concert dela rue ou 54. Hector Martainville, Feydeau, du This an at MmeMontanIII Barba, [1795]). L'agrement jour(Paris: play premiered inthePalais sier's Theatre desVari&tes inwhich another theater conservatives Royal, Montansier hadbeenimprisoned under theTerror, which made the congregated. theater that bore hername attractive toreactionaries. 55. Chaussier andMartainville, 4-5. 56. Chaussier andMartainville, 17. 19-20. andMartainville, 57. Chaussier 30 pluvi6se 58. Decade et III (18 Feb. 1795),488-89;Feuille philosophique, critique 10 [sic] III (3 Feb. 1795),57-59;andFeuille dusalut 8 venlitt.raire, public, vent6se taseIII (26 Feb. 1795),2-3.
inConcert55 Counterrevolution V (4 Sept.1797)coup,in the18fructidor wasdeported 59. Souriguere following the from were which government. purged royalists de dupays Chansons seeJ.-B. ofthesong text 60. Forthefull Weckerlin, populaires France 1903),2:148-49. (Paris: Heugel, that ofnotes to thestage were communicated 61. Thesedemands (billets) bymeans antioften included The notes on stage. throw could members audience anonymously of11 la reaction Paris as well.Aulard, tirades thermidorienne, report pendant Jacobin of 4 Dec. 1:416; III 1795), (23 1:351-52; Jan. 1794), report pluvi6se niv6se III (31 of16pluvi6se andreport of15pluvi6se III (4 Feb. III (3 Feb. 1795),1:446; report 18pluvi6se III (6 Feb. 1795),217. 1795),1:449;andAnnales patriotiques, of28 pluvi6se la reaction Paris 62. Aulard, III (16 Feb. thermidorienne, report pendant of10 gerof8 germinal III (28 Mar.1795),1:606-7; report 1795),1:483-85; report of 18 floreal Mar. minal 1:703-4; III (7 1795), III (30 May 1795),1:617; report of29 messidor of28 messidor III (17 July III (16 July 1795),2:82;report report of15 therof1 thermidor III (19 July 1795),2:91-93;andreport 1795),2:87;report midor III (2 Aug.1795),2:130. social secaffected ofFrance themusical over 63. The struggle every representation theNational ordered Convention In July ofParis. 1795theNational tor Guard, ofthe to themusic to march theConvention, which dayoutside every paraded ofthetroops this a portion On thedayfollowing eachmorning. "Marseillaise" order, dupeuple" instead. the"Rdveil to the"Marseillaise," to march refused preferring unimusic. See without the After a lengthy Abreviateur standoff, guard any paraded and28 messidor 27 messidor III (16 July III (15 July 1795),1088. 1795),1084, versel, 33. 64. Woronoff, 33. 65. Woronoff, ofreaction toJacobin as a song dupeuple" hadoriginated the"Reveil 66. Although itas an antigovernment hadadopted of1795conservatives bytheautumn tyranny, itself. therepublic 254. that anthem Mason, directly challenged 21 oftheBureau la reaction Paris 67. Aulard, Central, thermidorienne, report pendant to theMinister andreport IV (11 Jan.1796),2:644-45, [of Police], presented niv6se IV (11 Jan.1796),2:646-48. 21 niv6se 19 oftheBureau Paris la reaction 68. Aulard, central, thermidorienne, report pendant 20 IV of the Bureau and IV central, niv6se niv6se (9 Jan.1796),2:632-34, report 22 niv6se IV (12 Jan.1796),46; Rjdacuniversel, (10 Jan.1796),2:641;Abreviateur IV (14 Jan. deParis, IV (14 Jan.1796),3; andTableau 24 niv6se 24 niv6se teur, 1796),3-4. 29 niv6se IV (19 Jan.1796),2. 69. Tableau deParis, 22 niv6se inRjdacteur, IV (12 Jan.1796), letters arereproduced 70. Someofthese deParis, 23 niv6se IV (13 Jan. IV (7 Mar.1796),3; Tableau 3-4, and17 vent8se IV (29 Jan.1796),630,and21 ven9 pluvi6se 1796),2-3; andAnnales patriotiques, taseIV (11 Mar.1796),880-81. 6 deParis, IV (24 Jan.1796),597,andTableau 4 pluvi6se 71. Annales patriotiques, 2. IV 1796), (26 Jan. pluvi6se
56 TheMusical Quarterly 72. Decade 20 vent6se IV (10 Mar.1796),507-9. philosophique,
Paris 73. Aulard, la reaction oftheBureau 2 central for thermidorienne, pendant report IV IV (4 Feb.1796),734;and22 plu(22 Jan.1796),2:686;15pluvi6se pluvi6se IV (11 Feb. 1796),758. vi6se Paris la reaction 74. Aulard, oftheBureau central for thermidorienne, pendant report IV (29 Jan.1796),2:714;11pluvi6se IV (31 Jan.1796),2:720-21; 9 pluvi6se and IV (3 Feb.1796),2:731. 14pluvi6se Paris 75. Aulard, la reaction oftheBureau central for thermidorienne, pendant report IV (6 Feb.1796),2:742. 17pluvi6se 76. Aulard, Paris la reaction oftheBureau central for thermidorienne, pendant report 15pluvi6se IV (4 Feb. 1796),2:734. oftheTheatre 77. The image as a center ofreactionary andeven Feydeau activity is reinforced inthememoirs ofoneofthedirectors. See Louis-Marie royalist intrigue de La Revelli Memoires deLarevelliere-Lpeaux duDirectoire execumembre re-Lepeaux, dela Ripublique etdel'Institut national E. Plon,1895),1:396. tif (Paris: frangaise 78. Archives 1616.Thedecree wasalsoprinted in nationales, AF"', 351,dossier deshommes IV (1 Mar.1796), deParis, Journal 11vent6se libres, 11 495;Tableau IV (1 Mar.1796),4; andAnnales deParis, 15 vent8se IV (5 Mar.1796), vent6se 851. des 79. Censeur IV (4 Mar.1796),2-3. The Pantheon 14 vent8se Club journaux, numbered Babeuf itsmembers. among 80. Aulard, Paris la reaction oftheBureau central for thermidorienne, pendant report IV (1 Mar.1796),3:16-17;andreport ofthesecret IV 17vent6se 11vent6se police, (7 Mar.1796),3:30. 81. "[D]ans dessalons on fremit: d'abord unspectacle . . . Lesnerfs moins! dords; desfemmes se crispent d'une maniere mais enfin on revient a soi,on affreuse; cesdeux et il estdecid6 de Feydeau estunefiche evenemens, compare que la cl6ture deconsolation donnee auxjacobins." 16 vent6se IV (6 Mar. Abreviateur universel, article alsorecorded thereaction ofworkers from theFaubourg 1796),260.Thesame St.-Antoine to theclosing oftheFeydeau. Their blunt was"[']a devoit fini response comme ga." 82. Annales 13 germinal IV (2 Apr.1796),982;Bulletin dePapatriotiques, politique IV (2 Apr.1796),2; andDecade 20 floreal IV (9 May ris,13 germinal philosophique, itsdoors thenext 1796),320. The theater opened day. 83. Aulard, Paris la reaction oftheBureau central for thermidorienne, pendant report 21 floreal IV (10 May1796),3:178;andreport oftheBureau for 1 messidor central IV (19 June 1796),257. thegovernment with concerned itself theextremist Babeuf and 84. In particular, ofEquals. theConspiracy theconspirators little realthreat tothe Although posed thegovernment to this toestablish a socialist Directory, harshly responded attempt andusedtheconspiracy as an excuse tosuppress theJacobins as well.Lefebvre, utopia 52. Interestingly, Babeuf andhissupporters alsoemployed music 2:175-76; Woronoff, for ends. theaccused their as a means of trial, During political sang songs political andopposition. Fora discussion ofthetrial seeMason, 287-89. disruption
inConcert57 Counterrevolution 20 frimaire V (10 Dec. 1796),492. 85. Decade philosophique, ofso many Italian ledto thecomplaint that Garat's 86. Thepresence songs repermusic. Dicade 21 vent8se French V (11 toire didnotinclude enough philosophique, Mar.1797),280. V (12 Jan.1797),46-47;andPetite 23 niv6se deParis, 20 niv6se 87. Dijeuner, poste V (9 Jan.1797),127. V (16 Apr.1797),1221;Miroir, deParis, V 88. Petite 27 germinal 11frimaire poste V (20 Jan.1797),79. Occasionally a 1 pluvi6se (1 Dec. 1796),857;andDijeuner, with about other critics' fascination is reviewer fashion. One such complains example 26 pluvi6se inD'jeuner, V (11 Feb. 1797),179. found la reaction 89. Aulard, Paris oftheBureau 18 thermidorienne, central, pendant report oftheBureau V (8 Dec. 1796),3:614,report 10niv6se V (30 Dec. frimaire central, 12frimaire etavis V (2 Dec. 1796),1127annonces divers, 1796),3:664;andAffiches, 28. Notsurprisingly, theearly several fashion Directory during journals reappeared newstyles ofdress. See Ribeiro, andpopularized Fashion, chap.4, esp.115-17. 90. Miroir, V (16 Apr.1797),4. 27 germinal 2 pluvi6se 91. Miroir, V (21 Jan.1797),3. 22 frimaire 92. Annales V (12 Dec. 1797),4, andCourrier desspectacles, patriotiques, V (8 Feb. 1797),4. 20 pluvi6se 22 frimaire V (12 Dec. 1797),3-4; Semaines 93. Annales no. 1 patriotiques, critiques, desspectacles, modes annonces etavis divers: (27 Mar.1797),21-25;andFeuilleton V (31 Mar.1797),1-2. 11 germinal Supplement aila Quotidienne, deParis, 11niv6se V (31 Dec. 1796),10. Thisarticle described a 94. Petite poste woman whoattended a concert with both herlover andherhusband. 95. James H. Johnson, "TheFrench Musical from theOld Regime to Experience Romanticism" ofChicago, (Ph.D. diss., 1988),302-3. University 96. Michelle etla Revolution La longue Collection du Biget, Musique franqaise: dur&e, bicentennaire de la Revolution no. 16;Laboratoire et histoire des frangaise, littdrature de langues section 18e-19e no. 25 (Besangon: Universite de siecles, pays europdenes, 1989),111-12. Besangon,

Counterrevolution in Concert: Music and Political Dissent in Revolutionary France - Michael McClellan

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Counterrevolution in Concert: Music and Political Dissent in Revolutionary France Author(s): Michael E.

inConcert: Counterrevolution Dissent andPolitical Music

a cultural field on whichpolitical battles werefought. The concert

toil andthat inproscribing itwewould shut own andindustry, off a

as dudepart" andthe"Chant salut de l'empire," gaira,""Veillons

is a sop oftheFeydeau that theclosure atre andit is decided Feydeaul,

56 TheMusical Quarterly 72. Decade 20 vent6se IV (10 Mar.1796),507-9. philosophique,

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