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This book tells three interrelated stories that radically alter our perspective on plainchant reform at the turn of the twentieth century and highlight the value of liturgical music history to our understanding of French government anticlericalism. It offers at once a new history of the rise of the Benedictines of Solesmes to official dominance over Catholic editions of plainchant worldwide, a new optic on the French liturgical publishing industry during a period of international crisis for the publication of plainchant notation, and an exploration of how French Catholics could bend Republican anticlericalism at the highest level to their own ends.
Katharine Ellis is Professor of Music at Royal Holloway. She is a cultural historian of music in nineteenth-century France, author of two monographs (Music Criticism in Nineteenth-Century France (CUP, 1995) and Interpreting the Musical Past (OUP, 2005)), and joint editor with David Charlton of a collection of essays on Berlioz (The Musical Voyager, Peter Lang, 2007). In her research she seeks to explain what different kinds of music meant to those who experienced them, used them and avoided them, and to probe how music and musicians operated in light of cultural, social and regulatory frameworks.
List of Figures, Preface, List of Abbreviations, Prologue, 1 The Invisible Man, 2 Romanization, Nationalism, Protectionism, 3 Regensburg, Solesmes and the French Print Unions, 4 The Solesmes Crisis of 1893, 5 The Battles of 1901-1902, 6 Ruptures: 1904-1905, 7 Aftermath and Implications, Appendix: Codenames, Bibliography, Index
