Chevalier de Saint-Georges
Joseph Bologne, Chevalier de Saint-Georges | |
---|---|
Born | |
Died | 9 June 1799 | (aged 53)
Nationality | French |
Alma mater | Académie de l'équitation |
Joseph Bologne, Chevalier de Saint-George(s) (25 December 1745 – 9 June 1799) was a French violinist, conductor, composer and soldier. Moreover he demonstrated excellence as a fencer, an athlete and an accomplished dancer. His historical significance lies partly in his distinctive background as a biracial
Born in the French colony of Guadeloupe, his father, Georges Bologne de Saint-Georges, was a wealthy, white plantation owner, while his mother was one of the Creole people Georges kept enslaved.[b] At the age of seven, he was taken to France where he began his formal education. As a young man he won a fencing contest leading to his appointment as a "gendarme de la garde du roi" by king Louis XVI.[3] Having received music and musical composition lessons, he joined the orchestra Le Concert des Amateurs; culminating in his appointment as its conductor in 1773.[4]
In 1776, Saint-Georges began conducting the
Saint-Georges, a contemporary of Mozart, has at times been called the "Black Mozart." Some have criticized this appellation as racist.[10][11] Saint-Georges's life and career are the subject of the 2022 romanticized biographical film Chevalier, with Kelvin Harrison Jr. portraying the composer.[12]
Early life
Chevalier de Saint-Georges, also known as Joseph Bologne was born on 25 December 1745 in Baillif, Basse-Terre, the illegitimate son of a settler and planter Georges Bologne de Saint-Georges and Nanon, a 17-year-old enslaved African who served within the family household.[13] Bologne was legally married to Elisabeth Mérican (1722–1801) but acknowledged his son by Nanon and gave him his surname.[14][15][16]
In 1747, Georges Bologne was accused of murder and fled to France. The next year he was visited by his wife, Nanon, and his son. After two years he was granted a
At the age of 13, Joseph was enrolled in a private fencing academy run by Texier de La Boëssière's in Rue Saint-Honoré across from the Oratoire du Louvre, practising horse riding in the Salle du Manège. According to Antoine la Boëssière, son of the Master, "At 15 his progress was so rapid, that he was already beating the best swordsmen, and at 17 he developed the greatest speed imaginable."[23] Bologne was still a student when he defeated Alexandre Picard, a fencing master in Rouen, who had been mocking him in public as "Boëssière's upstart mulatto".[24] That match, bet on heavily by a public divided into partisans and opponents of slavery, was an important episode for Bologne. His father rewarded Joseph with a horse and buggy.[25]
His father, called "de Saint-Georges" after one of his
After defeating Picard in 1761 or on graduating from the academy in 1766, Bologne was made a Gendarme du roi (officer of the king's bodyguard) in Versailles and a chevalier.[29][30] He then adopted the suffix of his father's plantation and was known as the "Chevalier de Saint-Georges".
In 1764, his father returned to Guadeloupe, which had been occupied by the British during the Seven Year's War, to look after his sugar plantations. The following year, he made a last will and testament where he left Joseph an annuity of 8,000 francs and an adequate pension to Nanon, who remained with their son in Paris.
He continued to fence daily in the fencing venues of Paris. There he met the fencing masters Domenico Angelo and his son Henry, the mysterious Chevalier d'Éon and the teenage Louis Philippe II, Duke of Orléans, all of whom would play a role in his future.
On 17 May 1779, John Adams made an entry in his diary that mistakenly described St.-George as the son of a governor rather than a tax collector: "Lee gave Us an Account of St. George at Paris, a Molatto Man, Son of a former Governor of Guadaloupe, by a Negro Woman. ... He is the most accomplished Man in Europe in Riding, Running, Shooting, Fencing, Dancing, Musick. He will hit the Button, any Button on the Coat or Waistcoat of the greatest Masters. He will hit a Crown Piece in the Air with a Pistoll Ball."[32][33]
Musical life and career
Little is known about Saint-Georges' early musical training; he was sent to Paris to begin his musical studies at age 7. Given his prodigious technique as an adult, Saint-Georges must have practiced the violin seriously as a child.[34] Banat discounted François-Joseph Fétis's claim that Saint-Georges studied violin with Jean-Marie Leclair.[17] Some of his technique was said to reveal the influence of Pierre Gaviniès. In 1764, when violinist Antonio Lolli arrived in Paris, he composed two concertos, Op. 2, for him.[c] In 1766, François-Joseph Gossec dedicated a set of six string trios, Op. 9, to Saint-Georges.[36] Lolli may have worked with Bologne on his violin technique and Gossec on compositions. In 1769, the Parisian public was amazed to see Saint-Georges, well known for his fencing prowess, playing as a violinist in Gossec's new orchestra, Le Concert des Amateurs in the Hôtel de Soubise.[37]
Saint-Georges's first composition Op. I, probably composed in 1770 or 1771, was a set of six string quartets, among the first in France, published by famed French publisher, composer, and teacher Antoine Bailleux.[39] He was inspired by Haydn's earliest quartets, brought from Vienna by Baron Bagge. Also in 1770, Carl Stamitz dedicated his own set of six string quartets to Saint-Georges.[40] By 1771, Gossec had appointed Saint-Georges as the concert master of the Concert des Amateurs.[41]
In 1772, Saint-Georges debuted as a soloist with the Concert des Amateurs.[42] He played his first two violin concertos, Op. II, with Gossec conducting the orchestra. The concertos garnered a highly positive reception, and Saint-Georges, in particular, was said to be "appreciated not as much for his compositions as for his performances, enrapturing especially the feminine members of his audience".[43][44]
In 1773, when Gossec took over the direction of the prestigious Concert Spirituel,[d] he designated Saint-Georges as the new conductor of the Concert des Amateurs.[45] After less than two years under Saint-George's' direction, the group was described by Jean-Benjamin de La Borde as "performing with great precision and delicate nuances", who also said it had become "the best orchestra for symphonies in Paris, and perhaps in all of Europe".[46][47][48][e] Saint-Georges was chosen as the dedicatee of another composition in 1778, violinist Giovanni Avoglio's set of string quartets, Op. 6.[50][51]
In 1781, after the Compte rendu detailing the deplorable state of the nation's finances was published, Saint Georges's Concert des Amateurs had to be disbanded for lack of funding.[37][f] Playwright, arms dealer, and Secret du Roi (spy) Pierre Caron de Beaumarchais began to collect funds from private contributors, including many of the Concert's patrons, to send aid for the American cause. Saint-Georges turned to his friend and admirer, Philippe d'Orléans, duc de Chartres, for help.[g] Responding to Saint-Georges's plea, Philippe revived the orchestra as part of the Loge Olympique, an exclusive Freemason Lodge.[54] This orchestra was made up of the finest musicians in Paris who could qualify as members in the Freemasons.[55]
Renamed
Operas
Early in 1776, the Académie royale de Musique, the
To defuse the brewing scandal, Louis XVI, then only one year on the throne, took the Opéra back from the city of Paris to be managed by his Intendant of Menus-Plaisirs du Roi. Marie-Antoinette preferred to hold her musicales in the salon of her private apartment in the palace or in the recently established Théâtre de la Reine in the gardens of Versailles. She limited the audience to her intimate circle and a few musicians, among them the Chevalier de Saint-Georges. "Admitted to perform music with the Queen,"[65]}[66] Saint-Georges probably played his violin sonatas, with the Queen playing the fortepiano.[i]
The singers' petition may have ended Saint-Georges's aspirations to higher positions as a musician. Over the next two years, he published two more violin concertos and a pair of Symphonies concertantes.
Ernestine, Saint-Georges's first opera, with a libretto by Pierre Choderlos de Laclos, the notorious author of Les Liaisons dangereuses, was performed on 19 July 1777, at the Comédie-Italienne. It did not survive its premiere. The critics liked the music, but panned the weak libretto, which was then usually judged more important than the music.[71][72] The Queen attended with her entourage to support Saint-Georges's opera but, after the audience kept echoing a character cracking his whip and crying "Ohé, Ohé," the Queen gave it the coup de grace by calling to her driver: "to Versailles, Ohé!"[73]
After the failure of the opera, Saint-Georges was in financial trouble. Madame de Montesson, the
Saint-Georges wrote and rehearsed his second opera, appropriately named La Chasse (The Hunt) at Raincy. At its premiere in the Théâtre Italien, "The public received the work with loud applause. Vastly superior compared with Ernestine ... there is every reason to encourage him to continue [writing operas]."
In 1785, the Duke of Orléans died. Madame de Montesson, having been forbidden by the King to mourn him, shuttered their mansion, closed her theater, and retired to a convent for about a year. With his patrons gone, Saint-Georges lost not only his positions but also his apartment. His friend, Louis Philippe, now Duke of Orléans, presented him with a small flat in the
Meanwhile, the Duke's ambitious plans for re-constructing the Palais-Royal left the Orchestre Olympique without a home and Saint-Georges unemployed. Seeing his protégé at loose ends and recalling that the Prince of Wales often expressed a wish to meet the legendary fencer, Philippe approved Brissot's plan to dispatch Saint-Georges to London. He believed it was a way to ensure the Regent-in-waiting's support of Philippe as the future "Regent" of France. But Brissot had a secret agenda as well. He considered Saint-Georges, a "man of color", the ideal person to contact his fellow abolitionists in London and ask their advice about Brissot's plans for Les Amis des Noirs (Friends of the Blacks) modeled on the English Society for Effecting the Abolition of the Slave Trade.
Social life in Paris
At the fencing academy, Joseph met Chevalier Lamotte, who became a horn player in the King's orchestra (till October 1789). According to Louise Fusil, a singer, the two were inseparable; she compared them with Pylades and his cousin Orestes.[78] According to her Saint-Georges was: "... admired for his fencing and riding prowess, he served as a model to young sportsmen ... who formed a court around him."[79][80] A fine dancer, Saint-Georges was invited to balls and welcomed in the salons of highborn ladies. "He was often indebted to music for liaisons in which love played a part. Gifted with vivid expression he loved and made himself loved."[81]
During his time at the opera and before the revolution, Saint-Georges became involved with many women in Paris society. Joseph Bologne is supposed to have had at least one long-term, serious romantic relationship.
Pierre Le Fèvre de Beauvray, a gossip writer at the time, and author of a work entitled "Journal d'un bourgeois de Popincourt", attributes to Saint-Georges a love affair with the Marquise Marie-Josephine de Montalembert, salonnière, and novelist, the young wife of an old general. Her husband (Marc René, marquis de Montalembert) was a general of military engineering in the Queen's Court; his wife was said to have been drawn to the young composer.[84] Their affair was discovered and it was rumored by Louis Petit de Bachaumont they had a child.[k]
St. Georges assaulted
One evening, around midnight, Saint-Georges (5 feet 6 inches (1.68 m) tall) was attacked in the streets of Paris when returning home (in the Rue de la Chaussée-d'Antin). In his Secret Memoirs, Bachaumont mentions that the attack took place on the night of 1 May 1779. Saint-Georges and his friend valiantly defended themselves and were providentially saved by the night watch and its men-at-arms:
« M. de Saint Georges is a mulatto, that is to say the son of a negress […] Recently, during the night, he was attacked by six men, he was with one of his friends, they defended themselves to the best of their ability against sticks with which the fellows wanted to knock them down; there is even talk of a pistol shot which was heard: the lookout occurred & prevented the consequences of this assassination, - so that Mr. de Saint Georges is freed for bruises & minor injuries; he even shows himself already in the world. Several of the killers have been arrested. M. le Duc d'Orléans wrote to M. le Noir, as soon as he was informed of the fact, to recommend to him the most exact research, and that a striking justice be done on the culprits. After 24 hours Mr. the Duke of Orléans was asked not to interfere in this affair, and the prisoners, who were recognized as policemen, among whom was a certain Desbrugnieres, so renowned in the affair of the Comte de Morangiès, were released, which gives rise to a thousand conjectures. » [85]
It was suggested that the Marquis de Montalembert, eager to avenge his honour and punish the "seducer" of his wife by setting up a night operation, might have been behind the nocturnal aggression.
Two trips to London
In Spring 1787, Saint-Georges stayed in London with fencing masters Domenico Angelo and Henry, his son, whom he knew as an apprentice from early years in Paris.[89] They arranged exhibition matches for him, including one at Carlton House, before the Prince of Wales.[90] After sparring with him, carte and tierce, the prince matched Saint-Georges with several renowned masters. One included La Chevalière d'Éon, aged 59, in a voluminous black frock.[60] A painting by Abbé Alexandre-Auguste Robineau, violinist-composer, and painter, showed the Prince and his entourage watching Mlle D'Éon score a hit on Saint-Georges, giving rise to rumors that the Frenchman allowed it out of gallantry for a lady.[91] But, as Saint-Georges had fenced with dragoon Captain d'Éon in Paris, he probably was deferring to her age. Saint-Georges played one of Robineau's concertos at the Anacreontic Society.[92] It is supposed he delivered Brissot's request to translate the publications of the abolitionists MPs William Wilberforce, John Wilkes, and Reverend Thomas Clarkson into French. Before Saint-Georges left England, Mather Brown painted his portrait and presented it to Henry.[93] Asked by Mrs Angelo if it was a true likeness, Saint-Georges replied: "Alas, Madame it is frightfully so."[94]
Back in Paris, he completed and produced his latest opéra comique, La Fille Garçon, at the
Meanwhile, having nearly completed the reconstruction of the
While Saint-Georges was away, the Concert Olympique had resumed performing at the
As Saint-Georges was seen as a
Second trip
Early August Saint-Georges was sent by Laclos on a secret mission to London for his employer, the Duke of Orléans, Bardin suggests.
On his first trip Saint-Georges passed Brissot's request to the British
In late June 1790,
"Early in July, walking home from Greenwich, a man armed with a pistol demanded his purse. The Chevalier disarmed the man... but when four more rogues hidden until then attacked him, he put them all out of commission. M. de Saint Georges received only some contusions which did not keep him from going on that night to play music in the company of friends." The nature of the attack, with four attackers emerging after the first one made sure they had the right victim, has been claimed to be an assassination attempt disguised as a hold-up, arranged by the "Slave Trade" to put an end to his abolitionist activities.[107]
In Brussels the people wanted a United Belgium Republic and rejected Philippe. Not long after the Duke went back to Paris, but Saint-Georges decided to join a fencing tournament in Lille.[108]
Lille
"On Thursday 8 July 1790, in Lille's municipal ballroom, the famous Saint-Georges was the principal antagonist in a brilliant fencing tournament. Though ill, he fought with that grace that is his trademark. Lightning is no faster than his arms and in spite of running a fever, he demonstrated astonishing vigor." Two days later looking worse but in need of funds, he offered another assault, this one for the officers of the garrison. But his illness proved so serious that it sent him to bed for six long weeks.[109] The diagnosis according to medical science at the time was "brain fever". Unconscious for days, he was taken in and nursed by some kind citizens of Lille. While still bedridden Saint-Georges began to compose an opera for Lille's theater company. Calling it Guillome tout Coeur, ou les amis du village, he dedicated it to the citizens of Lille. "Guillaume is an opera in one act. The music by Saint-George is full of sweet warmth of motion and spirit...Its [individual] pieces are distinguished by their melodic lines and the vigor of their harmony. The public...made the hall resound with its justly deserved applause."[109] It was to be his last opera, lost, including its libretto. He participated in local events and took charge of the music.[110]
The singer Louise Fusil, who had idolized Saint-Georges since she was a girl of 15, wrote: "In 1791, I stopped in Amiens where St. Georges and Lamothe were waiting for me, committed to giving some concerts over the Easter holidays. We were to repeat them in Tournai in June.[111] But the French refugees assembled in that town just across the border, could not abide the Créole they believed to be an agent of the despised Duke of Orléans. St. Georges was even advised [by its commandant] not to stop there for long."[112] According to a report by a local newspaper: "The dining room of the hotel where St. Georges, a citizen of France, was also staying, refused to serve him, but he remained perfectly calm; remarkable for a man with his means to defend himself."[113]
Fusil describes the scenario of Saint-Georges' "Love and Death of the Poor Little Bird," a programmatic piece for violin alone, which he was constantly entreated to play, especially by the ladies. Its three parts depicted the little bird greeting the spring; passionately pursuing the object of his love, who alas, has chosen another; its voice grows weaker then, after the last sigh, it is stilled forever. This kind of program music or sound painting of scenarios such as love scenes, tempests, or battles complete with cannonades and the cries of the wounded, conveyed by a lone violin, was by that time nearly forgotten. Fusil places his improvisational style on a par with her subsequent musical idol, Hector Berlioz: "We did not know then this expressive ...depiction a dramatic scene, which Mr. Berlioz later revealed to us... making us feel an emotion that identifies us with the subject."[114][115]
Military career
On 22 May 1790 the right to declare war was given to the king, St. Georges decided to serve the Revolution as a
In April and June 1791, the Parliament recruited (400,000) volunteers from the entire French National Guard for the French Revolutionary Army. Leopold II (1747-1792), (sensible) brother of the Marie Antoinette, became increasingly concerned although he still hoped to avoid war.
With 50,000 Austrian troops massed on its borders, the first citizen's army in modern history was calling for volunteers. Saint-Georges was appointed captain and colonel in the following year.[119] It was believed he died in a pistol fight in Koblenz,[120] but on 7 September 1791 he published a letter announcing he wasn't dead.[121]
On 20 April 1792, compelled by the National Assembly,
On 7 September 1792
On 20 March 1793 the National Convention send
Because of a
On 6 May Saint-Georges was invited by the accusateur public to Paris to witness against Miaczinsky.[146] On 4 and 10 May he was accused by Stanislas-Marie Maillard,[147] and Louis Héron.[148] On 16 May his house was searched and bonds were found belonging to Philippe Égalité and Dumouriez.[149][o] On 17 May the trial against general Miaczinsky started (headed by Jacques-Bernard-Marie Montané); Captain Collin was interrogated.[151] On 18 May Saint-Georges, dressed civilian, performed a requiem by Gossec for the murdered general Théobald Dillon and the other victims in Lille.[152][153] In the following weeks Saint-Georges was accused of misusing government funds, and the Legion disbanded.[154] On 25 September 1793 Saint-Georges and ten of his officers were dismissed.[155]
On 29 September he was arrested without specific charges according to Banat.
On 19 October all the officers in the army, also the ones who were dismissed, had to clarify for the
On 3 May 1797, Saint-Georges tried to join and signed his petition "George".[164] He wrote:
"I continue to show loyalty to the revolution. Since the beginning of the war, I have been serving with relentless enthusiasm, but the persecution I suffered has not diminished. I have no other resources, only to restore my original position."[165] However, his application to Rewbell, a member of the French Directory, failed again.
One of the decisions of Napoleon as
Possible Saint-Domingue visit
Some biographers claim that St. Georges would have stayed in Saint-Domingue where he would have met with Toussaint Louverture. However, the stay of Saint-Georges in Saint-Domingue, after his imprisonment, is uncertain.[166] There may be confusion with another legend, his stay on the island of Martinique in December 1789. A newspaper mentioned that on request of Martinique Saint-Georges arrived there with 15,000 rifles in early December 1789.[167] In fact he was with the Duke of Orléans in London and afterward Lille.
It stands to reason that Julien Raimond would want to take St. Georges, an experienced officer, with him to Saint-Domingue, then in a civil war. While we lack concrete evidence that St. Georges was aboard the convoy of the commission, the fact that we find Captain Colin, and Lamotte (Lamothe) on the payroll of a ship of the convoy to Saint-Domingue, confirms Louise Fusil's account.[168] So does Lionel de La Laurencie's statement: "The expedition to Saint-Domingue was Saint-Georges' last voyage," adding that "Disenchantment and melancholy resulting from his experiences during that voyage must have weighed heavily on his aging shoulders"[169] Anyhow, the memoirs of Louise Fusil are full of inaccuracies, errors, or counter-truths.
It seems unlikely that St. Georges has been a part of the official delegation of commissioners civilians sent to Saint-Domingue with their head Léger-Félicité Sonthonax, the friend of Jacques Pierre Brissot, the founder of the Society of the Friends of the Blacks. Historians have found to this day no trace of St. Georges in the press of the time, or in the archives of the manifests of ships bound for French ports for Saint-Domingue or making trips back in France. This leads us to think that after his ouster of the armies of the Revolution, Saint-Georges would not have left Europe.
On 16 December 1795, his mother died, and on 29 March 1796, he signed as the executor of her will.[170] It is likely he inherited some money and property. On 19 April 1796 he and Lamothe, the horn player, gave a concert, for the impoverished Carl Stamitz.[171]
St. Georges was again building a symphony orchestra. Like his last ensemble, Le Cercle de l'Harmonie was also part of a Masonic lodge performing in what was formerly the Palais Royal. The founders of the new Loge, a group of nouveau riche gentlemen bent on re-creating the elegance of the old Loge Olympique, were delighted to find St. Georges back in Paris. On 11 and 28 April 1797 he gave concerts in the Palais-Égalité.[172][173] According to Le Mercure Français, "The concerts ... under the direction of the famous Saint Georges, left nothing to be desired as to the choice of pieces or the superiority of their execution". More concerts took place in July and August 1798.[174]
Death
According to a number of his biographers, at the end of his life, St. Georges lived in abject poverty, but the Cercle did not sound like the lower depths. Rejected by the army, St. Georges appealed again saying "I have no other resources" but was still rejected. Instead, at the age of 51, he found solace in his music. Sounding like any veteran performer proud of his longevity, he said: "Towards the end of my life, I was particularly devoted to my violin," adding: "never before did I play it so well!"[165] Two of his contemporary obituaries reveal the course of his illness and death.
- La Boëssière fils: "Saint-Georges felt the onset of a disease of the bladder and, given his usual negligence, paid it little attention; he even kept secret an ulcer, source of his illness; gangrene set in.[175]
- J.S.A. Cuvelier in his Necrology: "For some time he had been tormented by a violent fever ... his vigorous nature had repeatedly fought off this cruel illness; [but] after a month of suffering, the end came on 21 Prairial [June 9] at five o'clock in the evening. Sometime before the end, St. Georges stayed with a friend [Captain Duhamel] in the rue Boucherat. His death was marked by the calm of the wise and the dignity of the strong."[176][177]
Captain Nicholas Duhamel, an officer in
This year died, twenty-four days apart, two extraordinary
but very different men,
both Masters at sparring; the one who could be touched by a
foil was not the one who was more enviable for his virtues.
— Charles Maurice (1799)
Home
From 1757, Saint-Georges lived at 49,
Works
Saint-Georges, influenced by the prevailing
Some of Saint-Georges' music has been lost, including a children's opera, "Aline et Dupré, ou le marchand de marrons," of which only the overture survives. The music for three other known compositions is lost: a cello sonata, performed in Lille in 1792, a concerto for clarinet, and one for bassoon. Some French journalists such as Alain Guédé have asserted without evidence that Saint-Georges' scores were purposefully burned because of his skin color, or even that Napoleon banned his music from being performed. Arguing against this, Banat observes that Saint-Georges' legacy was well-remembered in elite circles, especially his skill in fencing.[187]
Operas
- Ernestine, opéra comique in 3 acts, Choderlos de Laclos revised by Desfontaines-Lavallée, première in Paris, Comédie Italienne, 19 July 1777, lost. Note: a few numbers survive.
- La Partie de chasse, opéra comique in 3 acts, libretto by Desfontaines, public premiere in Paris, Comédie Italienne, 12 October 1778, lost. Note: a few numbers survive.
- L'Amant anonyme (The Anonymous Lover), comédie mélée d'ariettes et de ballets, in 2 acts, after a play by Mme. de Genlis, première in Paris, Théâtre de Mme. de Montesson, 8 March 1780, complete manuscript in Paris Bibliothèque Nationale, section musique, côte 4076. The first critical edition of this, his lone surviving opera, was prepared by Opera Ritrovata for streaming performance by Los Angeles Opera and the Colburn School in November 2020.[188] In June 2022 this work was performed by the Haymarket Opera Company in Chicago. The opera was subsequently recorded by Cedille Records and features the soprano Nicole Cabell.[189][190]
- La Fille garçon, opéra comique mélée d'ariettes in 2 acts, libretto by Desmaillot, premiere in Paris, Comédie Italienne, 18 August 1787, lost.
- Aline et Dupré, ou le marchand de marrons, children's opera, premiere in le Théâtre du comte de Beaujolais, 1788. lost.
- Guillaume tout coeur ou les amis du village, opéra comique in one act, libretto by Monnet, première in Lille, 8 September 1790, lost.
Symphonies
- Deux Symphonies à plusieurs instruments, Op. XI, No. 1 in G and No. 2 in D.[p]
Concertante
Violin concertos
Saint-Georges composed 14 violin concertos. Before copyrights, several publishers issued his concertos with both Opus numbers and numbering them according to the order in which they were composed. The thematic
- Op. II, No. 1 in G and No. 2 in D, published by Bailleux, 1773
- Op. III, No. 1 in D and No. 2 in C, Bailleux, 1774
- Op. IV, No. 1 in D and No. 2 in D, Bailleux, 1774 (No. 1 also published as "Op. post." while No. 2 is also known simply as "op. 4")
- Op. V, No.1 in C and No. 2 in A, Bailleux, 1775
- Op. VII, No. 1 in A and No. 2 in B-flat, Bailleux, 1777
- Op. VIII, No. 1 in D and No. 2 in G, Bailleux n/d (No. 2 issued by Sieber, LeDuc and Henry as No. 9. No. 1 is also known simply as "op. 8")
- Op. XII, No. 1 in E-flat and No. 2 in G, Bailleux 1777 (both issued by Sieber as No. 10 and No. 11)
Symphonies concertantes
- Op. VI, No. 1 in C and No. 2 in B-flat, Bailleux, 1775
- Op. IX, No. 1 in C and No. 2 in A, LeDuc, 1777
- Op. X, for two violins and viola, No. 1 in F and No. 2 in A, La Chevardière, 1778
- Op. XIII, No. 1 in E-flat and No. 2 in G, Sieber, 1778
Unlike the concertos, their publishers issued the symphonie-concertantes following Bailleux's original opus numbers, as shown by the incipits on the right.
Chamber music
Sonatas
- Trois Sonates for keyboard with violin: B-flat, A, and G minor, Op. 1a, composed c. 1770, published in 1781 by LeDuc.
- Sonata for harp with flute obligato, n.d.: E-flat, original MS in Bibliothèque Nationale, côte: Vm7/6118
- Sonate de clavecin avec violin obligé G major, arrangement of Saint-Georges's violin concerto Op. II No. 1 in G, in the collection Choix de musique du duc regnant des Deux-Ponts
- Six Sonatas for violin accompanied by a second violin: B-flat, E-flat, A, G, B-flat, A: Op. posth. Pleyel, 1800.
- Cello Sonata, lost, mentioned by a review in the Gazette du departement du Nord on 10 April 1792.
String quartet
- Six quatuors à cordes, pour 2 vls, alto & basse, dédiés au prince de Robecq, in C, E-flat, G minor, C minor, G minor, & D. Op. 1; probably composed in 1770 or 1771, published by Sieber in 1773.
- Six quartetto concertans "Au gout du jour", no opus number. In B-flat, G minor, C, F, G, and B-flat, published by Durieu in 1779.
- Six Quatuors concertans, oeuvre XIV, in D, B-flat, F minor, G, E-flat, & G minor, published by Boyer, 1785.
Vocal music
Recueil d'airs et duos avec orchestre: stamped Conservatoire de musique #4077, now in the music collection of the Bibliothèque Nationale, contains:
- Allegro: Loin du soleil, in E-flat.
- Andante: N'êtes vous plus la tendre amie? in F.
- Ariette: Satisfait du plaisir d'aimer; in A.
- Ariette-Andante: (Clemengis) La seule Ernestine qui m'enflamme; in E-flat
- Duo: (Isabelle & Dorval) C'est donc ainsi qu'on me soupconne; in F.
- Scena-Recitavo: Ernestine, que vas tu faire .. as tu bien consulte ton Coeur? in E-flat.
- Aria: O Clemengis, lis dans mon Ame; in C minor.
- Air: Image cherie, Escrits si touchants; in B-flat.
- Air: Que me fait a moi la richesse ... sans songer a Nicette; in F minor.
- Duo: Au prés de vous mon Coeur soupire
Note: The names of the characters, Ernestine and Clemengis, in numbers 4, 6, 7 and 8 of the above pieces indicate they came from the opera Ernestine; number 5 is probably from La Partie de chasse.
The orchestra for all the above consists of strings, two oboes and two horns.
Additional songs
- Air: "Il n'est point, disoit mon père", from the opera Ernestine, in Journal de Paris, 1777.
- Two Airs de la Chasse, "Mathurin dessus l'herbette" and "Soir et matin sous la fougère" "de M. de Saint-Georges" in Journal de La Harpe, of 1779, the first air, no. 9, the second one, no. 10, dated 1781, marked: "With accompagnement by M. Hartman", clearly only the voice part may be considered to be by Saint-Georges. The same is true of an air "de M. de St.-George", "L'Autre jour sous l'ombrage", also in the Journal de La Harpe (8e Année, No. 7), marked: "avec accompagnement par M. Delaplanque".
- Two Italian canzonettas: "Sul margine d'un rio" and "Mamma mia" (different than the spurious "Six Italian Canzonettas") copied by an unknown hand (including the signature) but authenticated by a paraphe (initials) in Saint-Georges' hand. They are in BnF, ms 17411.
Dubious works
The opera, Le Droit du seigneur taken for a work by Saint-Georges is in fact by J-P-E. Martini: one aria contributed by Saint-Georges, mentioned in 1784 by Mercure de France, is lost.
A Symphony in D by "Signor di Giorgio" in the British Library, arranged for pianoforte, as revealed by Prof. Dominique-René de Lerma is by the Earl of Kelly, using a nom de plume.
A quartet for harp and strings, ed. by Sieber, 1777, attributed to Saint-Georges, is mentioned in an advertisement in Mercure de France of September 1778 as: "arranged and dedicated to M. de Saint-Georges" by Delaplanque. This is obviously by the latter.
A sonata in the Recueil Choix de musique in the Bibliothèque Nationale, is a transcription for forte-piano and violin of Saint-Georges' violin concerto in G major, Op. II, No. 1. This is the only piece by Saint-Georges in the entire collection erroneously attributed to him.
Recueil d'Airs avec accompagnement de forte piano par M. de St. Georges pour Mme. La Comtesse de Vauban, sometimes presented as a collection of vocal pieces by Saint-Georges, contains too many numbers obviously composed by others. For example, "Richard Coeur de lion" is by
. Even if Saint-Georges had arranged their orchestral accompaniments for forte-piano, it would be wrong to consider them as his compositions. As for the rest, though some might be by Saint-Georges, since this may only be resolved by a subjective stylistic evaluation, it would be incorrect to accept them all as his work.Six Italian Canzonettas by a Signor di Giorgio, for voice, keyboard or harp, and The Mona Melodies, a collection of ancient airs from the Isle of Man, in the British Library, are not by Saint-Georges.
Recueil de pieces pour forte piano et violon pour Mme. la comtesse de Vauban erroneously subtitled "Trios" (they are solos and duos), a collection of individual movements, some for piano alone, deserves the same doubts as the Recueil d'Airs pour Mme. Vauban. Apart from drafts for two of Saint-Georges's oeuvres de clavecin, too many of these pieces seem incompatible with the composer's style. "Les Caquets" (The Gossips) a violin piece enthusiastically mentioned by some authors as typical of Saint-Georges's style, was composed in 1936 by the violinist Henri Casadesus. He also forged a spurious Handel viola concerto and the charming but equally spurious "Adelaide" concerto supposedly by the 10-year-old Mozart, which Casadesus' brother, Marius Casadesus later admitted having composed (often incorrectly attributed to Henri as well).
Discography
The following is a list of all known commercial recordings.[192]
Symphonies concertantes
- Symphonie Concertante, Op. IX No. 1 in C: Miroslav Vilimec and Jiri Zilak, violins, Pilsen Radio Orchestra, Frantisek Preisler, conductor, Avenira, 1996–98.
- Symphonie Concertante, Op. IX No. 2 in A: Miroslav Vilimec and Jiri Zilak, violins, Pilsen Radio Orchestra, Frantisek Preisler, conductor, Avenira, 1996–98.
- Symphonie Concertante, Op. X No. 1 in F: Miroslav Vilimec and Jiri Zilak, violins, Jan Motlik, viola, Frantisek Preisler, conductor. Avenira, 1996–98.
- Symphonie Concertante, Op. X No. 2 in A: Miroslav Vilimec and Jiri Zilak, violins, Jan Motlik, viola, Frantisek Preisler, conductor. Avenira, 1996–98.
- Symphonie Concertante, Op. XII (sic) in E-flat: Miroslav Vilimec and Jiri Zilak, violins, Pilsen Radio Orchestra, Frantisek Preisler, conductor. Avenira, 1996–98.
- Symphonie Concertante, Op. XIII in G:
- Miriam Fried and Jaime Laredo, violins, London Symphony Orchestra, Paul Freeman conductor, Columbia Records, 1970.
- Vilimec and Ailak, violins, Pilsen Radio Orchestra, Preisler conductor, Avenira 1996–98.
- Christopher Guiot and Laurent Philippe, violins, with Les Archets de Paris. ARCH, 2000.
- Micheline Blanchard and Germaine Raymond, violins, Ensemble Instrumental Jean-Marie Leclair, Jean-François Paillard, conductor, Erato.
- Huguette Fernandez and Ginette Carles, violins, Orchestre de Chambre Jean-François Paillard, Paillard, conductor, Musical Heritage Society.
- Malcolm Lathem and Martin Jones, violins, Concertante of St. James, London, Nicholas Jackson, conductor, RCA Victor, LBS-4945.
Symphonies
Symphony Op. XI No. 1 in G:
- Orchestre de chambre de Versailles, Fernard Wahl, conductor, Arion, 1981.
- Tafelmusik orchestra, Jeanne Lamon violinist-conductor, Assai M, 2004.
- Le Parlement de musique, Martin Gester conductor, Assai M, 2004.
- Ensemble Instrumental Jean-Marie Leclair, Jean-François Paillard, conductor, Erato n.d., Contemporains Français de Mozart.
- London Symphony Orchestra, Paul Freeman, conductor, Columbia Records, 1974.
- L'Amant anonyme, overture in three movements:
- Tafelmusik Baroque Orchestra, Jeanne Lamon, Conductor, Assai M, 2004
- L'Amant anonyme, contredanse:
- Tafelmusik Baroque Orchestra, Jeanne Lamon, Conductor, Assai M, 2004
- L'Amant anonyme, Ballet No. 1 and No. 6:
- Tafelmusik Baroque Orchestra, Jeanne Lamon, Conductor, Assai M, 2004
Symphony Op. XI No. 2 in D:
- L'Ensemble Instrumental Jean-Marie Leclair, Jean-François Paillard, conductor. Erato, n.d., Contemporains Français de Mozart.
- Orchestre de chambre de Versailles, Bernard Wahl, conductor, Arion, 1981.
- Les Archets de Paris, Christopher Guiot conductor, Archets, 2000.
- Tafelmusik orchestra, Jeanne Lamon, violinist-conductor, Assai M, 2004.
- Le Parlement de musique, Martin Gester, conductor, Assai M, 2004.
Violin concertos
- Concerto Op. II, No. 1 in G:
- Miroslav Vilimec, Pilsen Radio Orchestra, Frantisek Preisler conductor, Avenira, 2000.
- Concerto Op. II, No. 2 in D:
- Miroslav Vilimec, Pilsen Radio Orchestra, Frantisek Preisler, conductor, Avenira, 2000.
- Stéphanie-Marie Degrand, Le Parlement de musique, Gester, conductor, Assai, 2004.
- Yura Lee, Bayerische Kammerphilharmonie, Reinhard Goebel Conductor, OEHMS Classics, 2007
- Concerto Op. III, No. 1 in D:
- Jean-Jacques Kantorow, Orchestre de chambre Bernard Thomas, Arion, 1974.
- Miroslav Vilimec, Pilsen Radio Orchestra, Frantisek Preisler, conductor, Avenira, 2000.
- Linda Melsted, Tafelmusik Orchestra, Jeanne Lamon, violinist-conductor, CBC Records, 2003.
- Qian Zhou, Toronto Camerata, Kevin Mallon, conductor, Naxos, 2004.
- Concerto Op. III, No. 2 in C:
- Tamás Major, Orchestra della Svizzera Italiana, Forlane, 1999.
- Miroslav Vilimec, Pilsen Radio Orchestra, Frantisek Preisler, conductor, Avenira, 2000.
- Concerto Op. IV, No. 1 in D:
- Miroslav Vilimec, Pilsen Radio Orchestra, Frantisek Preisler, conductor, Avenira 2000.
- Qian Zhou, Camerata Toronto, Kevin Mallon, conductor, Naxos, 2004. (The recording of this concerto was mistakenly reissued by Artaria as Op. posthumus, see incipit of concerto Op. IV, No. 1 in D, in "Works".)
- Concerto Op. IV, No. 2 in D:
- Hana Kotková, Orchestra della Svizzera Italiiana, Forlane, 1999.
- Concerto Op. V, No. 1 in C:
- Jean-Jacques Kantorow, Orchestre de chambre Bernard Thomas, Arion, 1974
- Miroslav Vilimec, Pilsen Radio Orchestra, Frantisek Preisler, conductor, Avenira, 2000.
- Christoph Guiot, Les Archets de Paris, ARCH, 2000
- Takako Nishizaki, Köln Kammerorchester, Helmut Müller-Brühl, conductor, Naxos, 2001.
- Concerto Op. V No. 2 in A:
- Jean-Jacques Kantorow, Orchestre de chambre Bernard Thomas, Arion, 1974
- Rachel Barton, Encore Chamber Orchestra, Daniel Hegge, conductor, Cedille, 1997.
- Miroslav Vilimec, Pilsen Radio Orchestra, Frantisek Preisler, conductor, Avenira, 2000.
- Takako Nishizaki, Köln Kammerorchester, Helmut Müller-Brühl, conductor, Naxos, 2001.
- Concerto Op. VII No. 1 in A: Anthony Flint, Orchestra della Svizzera Italiana, Forlane, 1999.
- Concerto Op. VII No. 2 in B-flat:
- Miroslav Vilimec, Pilsen Radio Orchestra, Frantisek Preisler, conductor, Avenira, 2000.
- Hans Liviabella, Orchestra della Svizzera Italiana, Alain Lombard, conductor, Forlane, 1999.
- Concerto Op. VII, No. 1, actually Op. XII, No. 1: in D: Anne–Claude Villars, L'Orchestre de chambre de Versailles, Bernard Wahl, conductor, Arion, 1981.
- concerto Op. VII, No. 2, actually Op. XII, No. 2 in G: Anne–Claude Villars, L'Orchestre de chambre de Versailles, Bernard Wahl, conductor, Arion, 1981.
- Concerto Op. VIII, No. 1 in D:
- Miroslav Vilimec, Pilsen Radio Orchestra, Frantisek Preisler, conductor, Avenira, 2000.
- Concerto Op. VIII, No. 9, actually Op. VIII, No. 2 in G:
- Jean-Jacques Kantorow, Orchestre de chambre Bernard Thomas, Arion, 1976, Koch, 1996.
- Takako Nishizaki, Köln Kammerorchester, Helmut Müller-Brühl, conductor, Naxos, 2001.
- Stéphanie-Marie Degand, Le Parlement de musique, Martin Gester, conductor, Assai M, 2004.
- Miroslav Vilimec, Pilsen Radio Orchestra, Frantisek Preisler, conductor. Avenira, 2000.
- Concerto Op. VIII, No. 10, actually Op. XII, No. 1 in D: Miroslav Vilimec, Pilsen Radio Orchestra, Frantisek Preisler, conductor. Avenira, 2000.
- Concerto Op. VIII, No. 11, actually Op. XII, No. 2 in G:
- Miroslav Vilimec, Pilsen Radio Orchestra, Frantisek Preisler, conductor. Avenira, 2000.
- Qian Zhou, Toronto Camerata, Kevin Mallon, conductor. Naxos 2004. (Listed as Concerto No. 10 in G in the recent Artaria Edition) The Largo of this recording is identical with that of Op. V, No. 2 in A.
Chamber music
- String Quartets:
Six quartets Op. 1 (1771).
- Juilliard Quartet, Columbia Records, 1974.
- Antarés, B-flat only Integral, 2003.
- Coleridge, AFKA, 1998.
- Jean-Noël Molard, Arion 1995.
Six Quatuors Concertans, "Au gout du jour", no opus number (1779).
- Coleridge Quartet, AFKA, 2003.
- Antarés, Integral 2003.
Six Quartets Op. 14 (1785).
- Quatuor Apollon, Avenira, 2005.
- Joachim Quartet, Koch Schwann 1996.
- Quatuor Les Adieux, Auvidis Valois, 1996.
- Quatuor Atlantis, Assai, M 2004.
- Quatuor Apollon, Avenira, 2005
Three keyboard and violin sonatas (Op. 1a):
- J. J. Kantorow, violin, Brigitte Haudebourg, Clavecin, Arion 1979.
- Stéphanie-Marie Degand, Violin, Alice Zylberach, piano, Assai M, 2004.
Miscellaneous
- Adagio in F minor, edited by de Lerma, performance notes by Natalie Hinderas, Orion, 1977.
- Air d'Ernestine: Faye Robinson, soprano, London Symphony Orchestra, Paul Freeman conductor, Columbia Records, 1970.
- Overture and two Airs of Leontine from L'Amant anonyme: Enfin, une foule importune: Du tendre amour: Odile Rhino, soprano, Les Archets de Paris, Christophe Guiot conductor, Archives Records, 2000.
- Excerpts from Ballets No. 1 & 2, and Contredance from L'Amant anonyme, Tafelmusik Orchestra, Jeanne Lamon, violinist-conductor, CBC Records, 2003.
In popular culture
- Saint-Georges's D Major Opus 3 Number 1 II Adagio is interpolated in “DAUGHTER” from Beyoncé's COWBOY CARTER (2024).
Footnotes
- ^ Since 1685, a Code Noir had been the law in France and its colonial possessions. Any slave who set foot on the French soil was automatically freed by law.
- ^ Misled by Roger de Beauvoir's 1840 romantic novel Le Chevalier de Saint-Georges, many of his biographers confused Joseph's father with Jean de Boullonges, Controller-General of Finances. This led according to Banat to the erroneous spelling of the family name as "Boulogne", persisting to this day, even in records in the Bibliothèque nationale de France.[2]
- ^ Lolli's dedication was to Joseph's father: "To M. de Bologne de Saint-Georges, who gave the arts a priceless gift in the person of his son."[35]
- ^ From 1777 the Concert Spirituel was directed by Joseph Legros, its final director. Legros, a singer at the Paris Opéra, managed the concerts until they came to an end in May 1790.
- ^ Baron von Grimm comments that the members of the Concert des Amateurs objected to Saint-Georges's reputation "as a taskmaster".[49]
- ^ In 1773 at the age of 26, Philippe had been elected Grand Master of the Grand Orient de France after the unification of all the Masonic organizations in France.
- ^ Haydn joined the Olympique lodge in 1785.[55] Saint-Georges was eligible to join the Grand Orient de France from 1773 or Les Neuf Sœurs from 1776.[57]
- ^ Under the teaching of Gluck, Marie Antoinette developed into a good musician. She learned to play the harp, the harpsichord and the flute. She sang during the family's evening gatherings, as she had a beautiful voice.[67] She owned several instruments and many books on music.[68] From 1788 she owned a piano made by Sébastien Érard.[69]
- ^ L'Amant Anonyme is Saint-Georges's sole opera to be found intact, and is listed in BnF, section musique, côte 4076
- Choderlos de Laclos lived on Île-d'Aixinvolved in the construction of fortifications against the British.
- French Antilles, France's American colonies
- Fouquier-Tinville followed on 16–17 May into the military leadership of Miranda and Miaczinsky. In July Miranda was imprisoned for 1.5 year.[131]
- ^ Dumouriez blamed the famous mulatto for thwarting his plans.[144] Saint-Georges prohibited the arrest of the other commissioners and couriers in Lille; instead Miaczinsky was arrested, transported to Paris, trialed and executed.
- ^ On 17 May, several officers of the American Legion signed an " Address to the Convention, to all the Clubs and societies patriotic for the negroes held in slavery in the French colonies".[150]
- Grove Music Online.[191]No 2 is identical with the overture to Bologne's opéra comique, L'Amant anonyme. The orchestration consists of strings, two oboes and two horns.
References
- ^ IMSLP. "list of works by Joseph Bologne Saint-Georges". International Music Score Library Project (IMSLP), Pertucci Music Library. Retrieved 5 December 2022.
- ^ Banat 2006, p. 5.
- ^ Banat 2006, p. 60-62, 67, 70.
- ^ Banat 2006, p. 112-118.
- ^ Banat 2006, p. 180-187.
- ^ Banat 2006, p. 258-259.
- ^ a b Banat 2006, p. 242.
- ^ Banat 2006, p. 373, 500.
- ^ Rashidi, Runoko (13 April 2014). "Joseph Bologne: The Chevalier de Saint-Georges of France". Atlanta Black Star. Retrieved 26 September 2019.
- ^ Balter, Marcos (22 July 2020). "His Name Is Joseph Boulogne, Not 'Black Mozart'". New York Times. Retrieved 24 February 2024.
Presumably intended as a compliment, this erasure of Boulogne's name not only subjugates him to an arbitrary white standard, but also diminishes his truly unique place in Western classical music history.
- .
- ^ "Searchlight Movies 2023". Searchlight. Archived from the original on 28 June 2023. Retrieved 26 November 2022.
- ^ Banat 2006, pp. 5, 29.
- ^ Banat 2006, p. 24, "Permit for Mme. St. George Bologne to take with her to France the Negresse called Nanon, Creole of said island around twenty years of age small of stature the whites of the eye bilious the face reddish in color and a little mulatto her son named Joseph two years of age….
- ^ Bardin 2015, p. 1.
- ^ Banat 2006, p. xviii.
- ^ a b c Joseph Bologne, Chevalier de Saint-Georges [Saint-George], by Gabriel Banat (2001)
- ^ Banat 2006, pp. 43–44, 490.
- ^ "St. Georges and Mulatre J'f.," listed as passengers landing in the Bordeaux custom officials' booklets; C.A.O.M., French Overseas Archives, F5b 14-58; Doc. 7.1 in: Banat 2006, p. 490.
- ^ Banat 2006, p. 492.
- ^ a b Waleik, Gary (15 March 2019). "Le Chevalier De Saint-Georges: Fencer, Composer, Revolutionary". WBUR. Retrieved 20 February 2022.
- ^ Banat 2006, pp. 52–53.
- ^ La Boëssière 1818, p. xvj.
- ^ a b Banat 2006, p. 69.
- ^ a b Angelo 1834, p. 23.
- ^ Brevet (Warrant), April 1757, Archives Nationales, 1.01 101. Doc. 8.2 in: Banat 2006, p. 491
- ^ "Le Chevalier de Saint-George, Afro-French Composer, Violinist & Conductor". chevalierdesaintgeorges.homestead.com. Retrieved 26 September 2019.
- ^ Cohen 2003, p. 86.
- ^ Banat 2006, p. 69, 373.
- ^ Bardin 2006, p. 66.
- ^ Bardin 2015b, p. 3.
- ^ "[May 1779] [from the Diary of John Adams]". Founders Online. The U.S. National Archives and Records Administration. 23 February 2024.
- ^ Butterfield, L. H., ed. (1961). The Adams Papers, Diary and Autobiography of John Adams. Vol. 2, 1771–1781. Cambridge, Massachusetts: Harvard University Press. pp. 364–379.
- ^ Banat 2006, p. 43-44.
- ^ Lolli 1764, p. 58, 110, 141.
- ^ Gossec 1766, p. 126.
- ^ a b "Chevalier de Saint-Georges 1745-1799".
- ^ Roger de Beauvoir (1840) Le Chevalier de Saint-Georges
- ISBN 978-1-56159-263-0.
- ^ Stamitz 1770, p. 126, 127.
- ^ Banat 2006, p. 117.
- ^ Banat 2006, p. 124.
- ^ Prod'homme 1949, p. 12.
- hdl:2027/nyp.33433081720751 – via HathiTrust.
- ^ Banat 2006, p. 249.
- ^ La Borde 1780, p. 484.
- ^ Almanach 1781, p. 198.
- ^ a b c Banat 2006, p. 181.
- ^ Grimm n.d.
- ^ 6 String Quartets, Op. 6. Digital copy of the original print at the website of le Bibliothèque nationale de Paris.
- ^ Banat 2006, p. 110.
- ^ George Taylor, review of Jacques Necker: Reform Statesman of the Ancien Regime, by Robert D. Harris, Journal of Economic History 40, no. 4 (1980): 878.
- ^ Rappleye 2010, pp. 303–306.
- ^ Banat 2006, p. 259.
- ^ a b Haydn Seek
- ISBN 978-1-56159-263-0.
- ^ Cousté, F. (2016). The long association of the music and freemasonry: Free remarks. The chain of union, 77, 50-59. [1]
- ^ Harrison 1998, p. 1.
- ^ a b Brenet 1900, p. 365.
- ^ a b 1787-9 – ALEXANDRE-AUGUST ROBINEAU, THE FENCING-MATCH BETWEEN THE CHEVALIER DE SAINT-GEORGE AND THE CHEVALIER D'EON
- ^ Journal de Papillon de la Ferté : intendant et contrôleur de l'argenterie, menus-plaisirs et affaires de la chambre du Roi, 1756-1780, Paris, éd. Ernest Boysse, Ollendorff, 1887 ; réédition Versailles, éd. Menus-Plaisirs du Roy, 2011 (ISBN 978-1-4477-4628-7).
- ^ Correspondance littéraire, philosophique et critique de Grimm et de Diderot ... By Friedrich Melchior, Vol VIII, p. 491-492
- ^ Later queens of the French stage, p. 126
- ^ Banat 2006, p. 192.
- ^ Bachaumont 1779, p. 39.
- ^ Banat 2006, p. 151-152.
- ^ Cronin 1989, p. 45-46.
- ^ "Le 13e piano de Marie-Antoinette ? - Mardi 09 mai 2017".
- ^ "Marie Antoinette's Piano".
- ^ Banat 2006, p. 202.
- ^ Banat 2006, p. 200-201.
- ^ "Comédie Italienne". Mercure de France. 8: 167–171. August 1777.
- ^ La Harpe 1807, pp. 130–135.
- ^ Banat 2006, p. 171.
- ^ Vigée-Lebrun 1869, p. 77.
- ^ Journal de Paris, 13 October 1778.
- ^ Bardin 2006, p. 112.
- ^ Souvenirs d'une actrice, vol. 1
- ^ Fusil 1841, p. 142.
- ^ Banat 2006, p. 305.
- ^ La Boëssière 1818, p. xxj.
- ^ "About Le Chevalier de Saint-Georges". Colour of Music. Archived from the original on 26 September 2019. Retrieved 26 September 2019.
- ^ Banat 2006, p. 225.
- ^ Banat 2006, p. 226-231.
- ^ Louis Petit de Bachaumont, Continued by Pidansat de Mairobert and Moufle d'Angerville, Secret Memoirs to serve in the history of the Republic of Letters in France from MDCCLXII to the present day, or, Journal d'un observer. ..: 18th century: 1762-1780, London, Chez John Adamson, 1780 (online presentation Mémoires secrets pour servir à l'histoire de la république des lettres. Vol 14, p. 39). (BNF 30044503)
- ^ Banat 2006, p. 229-231.
- ^ Ribbe 2004, p. 143.
- ^ Les Commissaires du quartier du Louvre, 1751-1791
- ^ Banat 2006, p. 284.
- ^ Angelo 1834, p. 24.
- The Morning Herald, 11 April 1787.
- The Morning Herald, 6 April 1787.
- ^ Angelo 1834, p. 63.
- ^ Angelo 1830, p. 538.
- ^ Journal general de France, 11 August 1787.
- ^ Banat 2006, p. 321.
- ^ Banat 2006, p. 339, 342-351.
- ^ Angelo 1834, pp. 24–28.
- ^ Angelo 1830, p. 450.
- Grace Elliot (1910) During the reign of terror; journal of my life during the French revolution, p. 14-15
- ^ Banat 2006, p. 354.
- ^ Banat 2006, p. 344-346.
- ^ Banat 2006, p. 281.
- ^ Nous sommes donc trois: ou le provincial à Paris by Saint-George (1790), p. 4
- ^ Nous sommes donc trois by Saint-George (1790)
- ^ Banat 2006, p. 351, 353.
- ^ Banat 2006, p. 294.
- ^ Banat 2006, p. 349, 355.
- ^ a b Banat 2006, p. 359.
- ^ Banat 2006, p. 364-367.
- ^ Banat 2006, p. 305, 360.
- ^ Fusil 1841, pp. 144–145.
- ^ Banat 2006, p. 369.
- ^ Fusil 1841, pp. 143–144.
- ^ Banat 2006, p. 358.
- ^ Banat 2006, p. 360, 373.
- ^ Banat 2006, p. 366.
- ^ vie et les mémoires du général Dumouriez, p. 149
- ^ Banat 2006, p. 364-365, 368, 370, 374, 500-501.
- ^ La Feuille du jour, 4 septembre 1791; Mercure universel, 8 septembre 1791
- ^ Magasin historique ou Journal général, p. 42, 70
- ^ Schama 1989, p. 600.
- ^ La légion de Saint-George, une histoire très noire
- ^ Banat 2006, p. 372-373, 379-380, 382-383.
- ^ "1789-1815 Hussards de Saint-Georges". www.1789-1815.com. Retrieved 9 January 2022.
- ^ Descaves, P. "Extrait de l'historique du 13e Chasseurs et des Chasseurs à cheval de la Garde" (PDF). Ancestramil. Retrieved 9 January 2022.
- ^ Detaille, p. 93
- ^ Jean-Baptiste Belley and French Republicanism
- ^ Banat 2006, p. 376.
- ^ a b Banat 2006, p. 396.
- ^ Tribunal révolutionnaire (1793-an III), p. 9
- ^ Thompson, J.M. (1929) Leaders of the French Revolution, p. 215
- ^ Wikisource: Œuvres complètes de Maximilien Robespierre. Speech Robespierre against Brissot and the girondins Delivered to the Convention on 10 April 1793 Discours contre Brissot & les girondins
- ^ Bulletin des Amis de la Vérité, 7 avril 1793, p. 2
- ^ a b Banat 2006, p. 392.
- ^ Bulletin Du Tribunal Criminel Révolutionnaire, p. 148, 151
- .
- ^ Le Républicain français, 5 avril 1793; Mercure français, 13 avril 1793
- ^ H. Wallon (1880-1882) Histoire du tribunal révolutionnaire de Paris: avec le journal de ses actes, p. 101-103
- ^ Gazette nationale ou le Moniteur universel, 22 mai 1793
- ^ a b Mercure français, 1 juin 1793
- ^ Nouvelles politiques, nationales et étrangères, 6 avril 179
- ^ Banat 2006, p. 398.
- ^ Banat 2006, p. 461.
- ^ Journal des débats et des décrets, 3 avril 1793
- ^ Thermomètre du jour, 8 mai 1793
- ^ Banat 2006, p. 503.
- ^ 72. Déclaration faite par les nommés Louis Héron, Charles Pillé et Guy Valory sur un nommé Saint-Georges, colonel à Lille, 10 mai 1793, p. 144
- ^ a b c d Luc Nemeth, « Un état-civil chargé d'enjeux : Saint-George, 1745-1799 », Annales historiques de la Révolution française [En ligne], 339 | janvier-mars 2005, mis en ligne le 15 mars 2008, consulté le 20 avril 2023. URL : http://journals.openedition.org/ahrf/2130 ; DOI : [2]
- ^ Banat 2006, p. 509?.
- ^ Histoire Parlementaire de la Révolution française, ou Journal des ..., Band 27 by Philippe Buchez, p. 104-111
- ^ Journal général de l'Europe, 23 mai 1792
- ^ Banat 2006, p. 367.
- ^ Reiss (2012), The Black Count, pp. 133–145
- ^ Banat 2006, p. 399.
- ^ Banat 2006, p. 402, 404-405, 426, 436, 511.
- ^ Benjamin Warlop (2022) Le Chevalier de Saint-George
- ^ Historiqe commune Houdainville
- ^ Banat 2006, p. 402-405.
- ^ Banat 2006, p. 512, 514.
- ^ a b Banat 2006, p. 426, 518.
- ^ Gazette nationale ou le Moniteur universel, 25 octobre 1795, p. 2
- ^ Soboul 1974, p. 473.
- ^ Banat 2006, p. 425, 517.
- ^ a b Banat 2006, p. 451.
- ^ Banat 2006, p. 446-447.
- ^ Journal général de la cour et de la ville, 5 décembre 1789
- ^ Banat 2006, p. 519.
- ^ La Laurencie 1922, p. 484.
- ^ Anne Nanon La mère du Chevalier de Saint George enfin retrouvée! by Pierre Bardin, p. 3
- ^ Le Journal de Paris, 18 avril 1796; 19 avril 1796, p. 5
- ^ Banat 2006, p. 451-452.
- ^ La Quotidienne ou Feuille du jour, 29 avril 1797
- ^ Le Courrier des spectacles, ou Journal des théâtres, 17 juillet 1798, p. 6; 28 août 1798, p. 5
- ^ La Boëssière 1818, p. xxii.
- ^ Le Courier des spectacles, June 12, 1799
- ^ a b Banat 2006, p. 453.
- ^ Banat 2006, p. 373, 393.
- ^ Banat 2006, p. 520.
- ^ Banat 2006, p. 195.
- ^ Banat 2006, p. 274.
- ^ Banat 2006, p. 364.
- ^ Anne Nanon La mère du Chevalier de Saint George enfin retrouvée! by Pierre Bardin
- ^ "Le Chevalier de Saint-George (1745-1799)". 7 July 2013.
- ^ "JOSEPH BOLOGNE de Saint George dit Chevalier Saint George". 25 December 2020.
- ^ Banat 2006, p. 469-478.
- ^ Banat 2006, p. 457.
- ^ Salazar, David (28 October 2020). "Restoring a Classic - How Opera Ritrovata Created a Critical Edition for Joseph Bologne's 'L'Amant anonyme'". Opera Wire. Retrieved 8 November 2020.
- ^ Haymarket Opera lifts the veil from Bologne's 'L'Amant anonyme' to reveal a comedic gem
- ^ Classical Music Daily
- ISBN 978-1-56159-263-0.
- ^ Banat, p. 479-483
Sources
- Almanach musical, pour l'année mil-sept-cent-quatre-vingt-un (in French). 1781. LCCN 2014572208. Retrieved 21 October 2019.
- Angelo, Henry (1830). Reminiscences of Henry Angelo. London: Colburn & Bently.
- Angelo, Henry (1834). Angelo's Pic-nic or Table Talk'. London: J. Ebers.
- Bachaumont, Louis Petit, de (1779). Mémoires secrets pour servir à l'histoire de la République en France (in French). Vol. IV. London: John Adamson.
{{cite book}}
: CS1 maint: multiple names: authors list (link) - Banat, Gabriel (1981). Masters of the Violin Volume 3 : Violin Concertos and Two Symphonies Concertantes. Johnson Reprint Corp. ISBN 9780384031838.
- Banat, Gabriel (2006). The Chevalier de Saint-Georges: Virtuoso of the Sword and the Bow. Hillsdale, New York: Pendragon Press. ISBN 978-1-57647-109-8.
- Bardin, Pierre (2006). Joseph de Saint George, le Chevalier Noir (in French). Paris: Guénégaud. ISBN 2-85023-126-6.
- Bardin, Pierre (2015). "Guillaume Delorme – Le Montagnard" (PDF).
- Bardin, Pierre (2015b). "La mere du Chevalier de Saint George enfin retrouvee!" (PDF). Genealogie et histoire de la Caribe. Retrieved 26 September 2019.
- Beauvoir, Roger de (1840). Le Chevalier de Saint-Georges (in French). Paris: Lévy frères.
- Braham, Allan (1989). The Architecture of the French Enlightenment. London: Thames and Hudson. Retrieved 3 April 2018.
- Brenet, Michel (1900). Les Concerts en France sous l'Ancien Régime (in French). Paris: Fishbacher.
- Cohen, William B. (2003). The French encounter with Africans : white response to Blacks, 1530-1880. Indiana University Press. OCLC 52992323.
- Denys, Odet (1972). Qui était le chevalier de Saint-Georges? (in French). Paris: Le Pavillon.
- Descaves, Pierre (1891). Historique du 13e Régiment de chasseurs (in French). Béziers: A. Bouineau.
- Dumouriez, Charles François (1794). Mémoires du général Dumouriez écrites par lui même (in French). Hambourg: B.G. Hoffman.
- Edwards, Bryan (1797). A Historical Survey of the French Colony on the Island of St. Domingo. London: Stockdale.
- Fusil, Louise (1841). Souvenirs d'une actrice (in French). Paris: Charles Schmit.
- Gossec, François-Joseph (1766). Six Trios pour deux violons, basse et cors ad libitum dont les trois premiers ne doivent s'exécuter qu'à trois personnes et les trois autres à grande orchestre. Bailleux.
- Grimm; Diderot; Raynal; Meister [in French] (n.d.). Correspondance littéraire, philosophique et critique (in French). Paris: Garnier Frères.
- Harrison, Bernard (1998). Haydn : the "Paris" symphonies. Cambridge University Press. OCLC 807548876.
- La Boëssière, Antoine (1818). Traité de l'art des armes à l'usage des professeurs et des amateurs (in French). Paris: Didot.
- La Borde, Jean-Benjamin (1780). Essai sur la musique ancienne et moderne (in French). Paris: Pierres.
- La Harpe, Jean François de (1807). Correspondance littéraire, adressée à Son Altesse Impériale Mgr le grand-duc, aujourd'hui Empereur de Russie, et à M. le Cte André Schowalow,... depuis 1774 jusqu'à 1789. T. 6 / par Jean-François Laharpe (in French). Migneret. Retrieved 3 April 2018.
- La Laurencie, Lionel (1922). L'École Française de violon, de Lully à Viotti Vol. II (in French). Paris: De la Grave.
- Lolli, Antonio (1764). Deux Concerto a violon principal, premier et second dessus, alto et basses. Paris: Le Menu.
- Prod'homme, Jacques-Gabriel (1949). François Gossec, la vie, les oeuvres, l'homme et l'artiste (in French). Paris: La Colombe.
- Rappleye, Charles (2010). Robert Morris: Financier of the American Revolution. Simon & Schuster. ISBN 978-1-4165-7091-2.
- Ribbe, Claude (2004). Le Chevalier de Saint-George (in French). Paris: Perrin. ISBN 2-262-02002-7.
- ISBN 0679726101.
- Soboul, Albert (1974). The French Revolution: 1787–1799. New York: Random House. ISBN 0-394-47392-2.
- Stamitz, Carl (1770). Sei Quartetti per due violini, viola e basso i quali potranno esse eseguiti a grande orchestra. Paris: Bureau d'abonnement musical.
- Stille, Charles J. (2010). Beaumarchais and the "lost million." a chapter of the secret history of the. Nabu Press. OCLC 944193483.
- Vigée-Lebrun, Elizabeth (1869). Souvenirs (in French). Paris: Charpentier. p. 77. Retrieved 21 October 2019.
Further reading
- JSTOR 779385.
- Bisdary-Gourbeyre, Conseil Général de la Guadeloupe (2001). Le fleuret et l'archet, Le Chevalier de Saint-George (1739? – 1799) (in French). Guadeloupe.
{{cite book}}
: CS1 maint: location missing publisher (link) - Guédé, Alain (1999). Monsieur de Saint-George, le Négre des lumières (in French). Paris: Actes Sud. ISBN 2-7427-2390-0.
- Jones, Isola Charlayne (2016) Observations and Insights into the Life and Vocal Work of Joseph Bologne (Chevalier de Saint-Georges)
- Ledford, J. A. (2020). Joseph Boulogne, the Chevalier de Saint-George and the Problem With Black Mozart. Journal of Black Studies, 51(1), 60–82. https://doi.org/10.1177/0021934719892239
- Peabody, Sue (1996). "There are no slaves in France" : the political culture of race and slavery in the Ancien Régime. New York: Oxford Univ. Press. ISBN 0-19-510198-7.
- Quoy-Bodin, J. L. (1984). "L'Orchestre de la Société Olympique en 1786". Revue de Musicologie (in French) (1). Paris: Bibliothèque historique de la Ville de Paris: 95–107. JSTOR 928657.
- Smidak, Emil F. (1996). Joseph Boulogne called Chevalier de Saint-Georges (English ed.). Lucerne, Switzerland: Avenira Foundation. ISBN 3-905112-07-8.
External links
- Free scores by Chevalier de Saint-Georges at the International Music Score Library Project (IMSLP)
- Joseph Bologne, Chevalier de Saint-Georges (1745-99)—Christopher Dingle's website dedicated to research on the music of Chevalier de Saint-Georges
- An essay on Chevalier de Saint-Georges by the French musicologistMichelle Garnier-Panafieu
- The Festival International de Musique Saint-Georges website
- Official website of Chevalier (2022 film)
- Search results for Chevalier de Saint-Georges in the Catalogue de la bibliothèque du Centre de musique baroque de Versailles