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

8/12/2019 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 FranceAuthor(s): Michael E. McClellanSource: The Musical Quarterly, Vol. 80, No. 1 (Spring, 1996), pp. 31-57Published by: Oxford University PressStable URL: http://www.jstor.org/stable/742527.

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Music ndCultureCounterrevolutionnConcert:MusicndPoliticalissentinRevolutionaryranceMichael. McClellan

Ah quede ouissanceNous ffreeConcertAuxbeaux rts ans aFranceUnasylest uvert;Oui,par e charmantoncertAuxbeaux rts ans aFrance,Unasylest uvert.Ah whatleasurehe oncertattheThiMtreeydeau]fferss Arefugeor inertssopennFrance.es, hroughhiselightfuloncertrefugeorhe inertssopennFrance. -HectorChaussierndAlphonse artainville,e concerte arue eydeauDonne-nousupainplut6tuede amusiquet des oncerts.Give s breadnsteadfmusicnd oncerts.-A taunthoutedt a memberf heNational onvention,itednAlphonseulard,d.,Paris endantareactionhermidoriennet ousedirectoire:ecueiledocumentsour'histoiree 'espritublic& aris

Rarelyavemusicalerformancesenerateds much oliticalonster-nations inParis uringheThermidoreaneactionndthefirstDirectory.1hepoliticizationfParisianheaters,hich adacceler-atedunderheTerror,ulminatednthe ransformationf he ity'sauditoriumsnto orumsordeologicalebate. netheater,heThe-atre eydeau,ained articularotorietyor tumultuouseries fconcertshat ttractedudiencesor heir oliticalignificancesmuch s for heirmusicalxcellence.2 s the uotationsbove ndi-cate, musicalperformancesuch as the Feydeau'sconcertsconstituteda cultural ield n whichpolitical attleswerefought. he concertseries at the Feydeau, dependingon one's viewpoint,representedhereturn fpolitical tabilitynd culturalupremacyrsignifiedhedegenerationfsocietymidthechaos ofpolitical eaction.

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32 TheMusicaluarterly

Followinghe ollapsef heTerrorn1794, heFrenchovern-ment nce gain oundtselfna state f risis. crimoniousoliticalfightingetweenroponentsf ompetingdeologiesharacterizedheThermidoreaneactionndearly irectory.hemenwho uccess-fullyusted obespierre,outhon,ndSaint-Justn 9 thermidorI(27July794)representedosingle artyrpoliticalaction.3heleadersf he oupwere llregicideepublicansho, ntheprocessfdismantlingheTerror,oundhemselvesorkinglongsideoyalists,conservatives,ndeven adical evolutionarieshohadbecome isil-lusioned ith ndfearfulf he xtremistoliciesmplementedy heCommitteeor ublic afety.or heremainderf1794 ndmost f1795 hependulumfgovernmentwungetweenhe xtremesepre-sentedyroyalismndradical evolution.hepopular prisingsf hespringf1795 swell s theroyalistevoltnthefollowingutumnreflectedhedifficultieshat heThermidoreanovernmentnd tssuccessor,heDirectory,aced stheyttemptedosteer moderatepoliticalourse. heDirectory,esignedo resist ominationy nysingle oliticalaction,emainednefficientnd neffectualn ts egis-lative ealings.ndeed,he eadersf heDirectoryften adtoresolveressingroblemshroughxtraconstitutionalaneuvershatseriouslyompromisedheprincipleshat tclaimed osupportndtherebyeakenedts wn deologicaloundation.hegovernment'sinherentnstabilityroducedidespreadissent,hich ecameconstanteaturef heFrencholiticalandscapes variousdeologi-calcampsndeavoredoseize ontrolf he tate.Due to the umbersomeaturef hepolitical rocessnpost-Terrorrance,ppositionartiesoughtther enuesnwhich oexpressheir oliticalissatisfaction.rominentmonghese issent-ing actionsas heeunesseor&egilded outh). rom hefall f1794 hroughost f1795 hese oungnti-Terroristctivistslexedtheiroliticalmuscle--literally--ashey oughtutJacobinsofight.4Their ontemptor heTerrorndpatronizingehaviorowardhepoor etrayeddistasteor llegalitarianalues,matchednly ytheirrrogantondescensionowardnyone ho hampionedhevirtuesf ocial ndpoliticalquality.5hesemen doptedhe rap-pingsfwealthnd eisuresemblemsfprestige.sspaces evotedtopublic erformancendculturalepresentation,he heatersfParisofferedhe eunesseorde physicalpace nwhich o demonstrateboth.This article xamines heprocess ywhich eactionariesuchasthe eunesse ordemanipulatedertainmusicotheatricalymbolsnorder oenhance heir hetoricndto articulateheir ulturaldeol-



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CounterrevolutionnConcert33

ogy. pecifically,focus n the oncerteasons fYear II (1794-95)andYearV (1796-97) t theTheatreeydeau.etweenhe woconcerteries herelsooccurredsuccessionfdisturbancest sev-eralParisianheatersn which ival oliticalactions ithinudiencestauntedheirounterpartsy ingingartisanongs. his o-calledguerrees hansonsf1795-96,when onsiderednconnection iththeFeydeau'swo oncerteasons,roducedhree earsfuninter-ruptedeactionaryissent.hese nstancesfmusicalppropriationchart politicalndculturalhifthat ompletelyltered renchoci-etynthemid-1790s.norder o understandhis hange e mustanalyze hyhesemusicalventsppealedo conservativesndwhatthereactionariesccomplishedhroughheirxploitationf uchculturaligns.

The TheatreFeydeau and thePolitics of ReactionThroughoutts xistence,hegovernmentf heTerroradencour-aged heproductionfpoliticalramashatwould enerateepublicanenthusiasmmongheFrenchitizenry.6hispoliticizationfthestagehroughlayswith vertlyepublicanontentroducednturnpoliticizedudiences.ollowinghe ollapsef heTerror,heatergo-ers,whohadgrownccustomedo theaterss arenas f vertdeologi-caldebate,ontinuedo react o theatricalntertainmentsolitically.Audienceeceptionfter thermidor,owever,eflectedhe hiftnpolitical inds hat adbroughtn end o theTerror.7nder heThermidoreanegime,heatergoersrequentlyoiced onservative-even penlyounterrevolutionarysentimentshat hegovernmentprovednable runwillingosuppress.When onfrontedydramaselebratingepublicanalues ssoci-atedwith heTerror,eactionariesithinhe udienceftenrespondedith iolence. olice eportsist andalismnddisorderli-ness stypicalehavioror he eunesseoree ttendinghe heater.Theseyoungmen ongregatednParisianalles espectaclesotmerelyto entertainhemselvesut lso oexpressheir oliticaliewswithinpublicpaces hat heyoudlyroclaimedstheirwn.8nthefirstmonthsf1795, orxample,mall roupsf eunesseoreemusedthemselvesysmashinghebusts frevolutionaryeroes hatgracedthe auditoriumsfnearlyvery arisian heater.9 ather handefenditselfgainst harges fTerroristuthoritarianism,hegovernmentallowed uchdisplaysfantirepublicanentimentoproceedmore rlessunimpeded.



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34 TheMusicaluarterlyThescrupulousare hat hepost-Terrorovernmentook odistinguishtselfromhepoliciesfYear I (1793-94)reflectedtsdelicateituation.he onepoint f greementmonghediversepoliticalnterestshat mergedollowingthermidorI was n aver-sion o all radical ormsfrepublicanism.wide angef deologicalstances,herefore,ere nifiednder he nti-Terroristanner. nysuggestionfgovernmentalupportor rcontinuityith heTerrorgeneratedevere riticismromeveral irections.0Oppositionar-ties, herefore,ould iscredithegovernmenty hargingtwith

Terroristympathies,hichhey requentlyidfromherelativesafetyf heatricaluditoriums.Of all Parisianheaters,heTheatreeydeaunparticularacquired reputations a locus f nti-Terroristndeven ounterrev-olutionaryctivity.1Theappeal f heFeydeauo these actions asnot ccidental. numberffactorsombinedo earn t this onser-vativepprobation,ot he east fwhichwerets ies o the ourtofLouisXVI. The theateradoriginallyeennamed heTheatreeMonsieurfterhe ount fProvence,heking'srotherndpatronof he heater.he namewas hangedo theTheatreeydeaun1792 fterheroyal amilyadbeen apturedt Varennes hileattemptingo flee he ountry.hishistoryfprincelyatronage,whichnthe yes frepublicanfficialsadmade heFeydeauuspectthroughoutheTerror,ow ppealedoroyalistss well s to essextremeeactionariesndmade his heaterlogical lace or hemoassemble.TheFeydeauolidlyonfirmedtspositions anattractiveeac-tionaryenue arlyn1795by fferingts tage o the ctors f heTheatreelaNation, ormerlyheComedieFrangaise.uringheTerror,hese ctors adnarrowlyscapedxecutionor heir re-sumedoyalistympathies.hortlyfterheir elease romrison,these amecom.diensigned contractith he dministrationf heTheatreeydeauccordingo which he ctorsgreedoperformnthe ven-numberedays f herepublicanalendar hile separatetroupef ingersontinuedoperformperasnthe dd-numbereddays.2Thepersecutionf hese ctorsy hegovernmentf heTerrornhancedheireputationmonghermidoreanociety.heirformerncarcerationowbecame badge fhonor. apitalizingpontheiropularitymongnti-Terrorists,he ctorsf he ldComedieFrangaise rogrammedeveral ramas hathadbeen outlawed uringYear II.13Although egularerformancesythecomediensssuredheFeydeau fa loyalfollowingfreactionaryatrons,t wastheFey-



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deau's oncerteriesfYear II that epresentedhegreatestrawotheseudiences.eginningn thefall f1794, he dministrationftheTheatreeydeauegan o offeroncertsna regularasisntheplace fopera. rom he ndofDecember794 hroughApril1795, he heaterfferedconcertveryendays.4No other art ftheFeydeau'sepertoirenspireds much nthusiasmmongnti-Terroristsr arousedsmuchuspicionnthepart f hegovern-ment. o understandusthow ndwhyhese oncertsainedheirnotoriety,e need o examinehehistoryf oncertifemmediatelyprioroandduringheTerror.

ConcertPerformance nd theRevolutionThe ast egulareriesf oncertsivennPariswas heConcertsSpirituels,hich adbeendiscontinuedfter790.15 nderhemon-archyntrepreneursadmountedhese oncertstthose imes f heyearwhen heOperawas losedn observancef mportanteligiousfeastsuch sEaster,entecost,hristmas,ndPurification.ecauseof heir ssociationith eligiousbservances,heConcertspirituelsincludedacred ocalmusicnadditiono secularnstrumentalorks.After790 ndthediscontinuationf heConcertspirituels,oncertperformanceepresentednatypicalepartureromhe tandardra-maticndoperaticare fferednParis.16The historicalssociationf oncerts ith eligiousnjunctionsagainstheatricalerformanceargelyontributedo thediscontinua-tion f heConcertspirituelsuringheRevolution.7Thepublicidentifiedoncerterformanceith eactionaryoliticsswell swiththe nfluencef he hurch.sSo when heFeydeaurogrammednorchestraloncertor he veningf25 March 794, nthemiddle ftheTerror,t was mmediatelyriticizedy republicanournalist.The critic ointedut hat ccordingothe hurchalendar5Marchwas hefeast f heAnnunciationndthat uringhe ncienregimeoncertsadbeenperformedn this ay ndeferenceo thesolemnityf hefeast. hereviewerrgedheTheatreeydeauoacknowledgets ack f udgmentnd crupulouslyvoid herevivalfthis uperstitiousracticenthefuture.19Given he raditionalonnectionetweenoncertsndtheancienrigime,t is notsurprisinghat heFeydeau's oncerteries fYear II quickly ecamefashionablemong eactionaryectors f thepublic.These concerts epresentedpoint freferenceopre-TerrorFrance.Moreover, or oyalistsnd other ltraconservativesheperfor-mancesharked ackto a prerepublicanndprerevolutionaryra. In



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recognitionf his act,oncertudiencesonspicuouslyisplayedtheir ealthnorder o distancehemselvesromhe usterityssoci-atedwith heTerror.ndeed, eviewsf he oncerteasonntherepublicanress omplainedbout he onspicuousxcess xhibitedyaudiencemembers.ne revieweremarkedhat it eemed o metobe a scene romhe imes f hemonarchythoughthaddreamttheRevolution."20hisreview, hichppearedna newspaperithmoderateepublicanympathies,mpliedhat he heaterrowdremainednaffectedndunalteredy he normoushangeshatFrance adexperiencedrom789 hrough794.Incontrasto the udience,oth hemusic ndthemusiciansreceivedhepraisef heParisianress.21evertheless,hesexpres-sions f pproval ere otwithoutoliticalontent.ne reviewernoted hat [t]heoncertst theFeydeau,elebratedor heir xcel-lence,wereuspendeduringhe alamitousime fdictatorialyr-anny. heyhaverecentlyeen evived ithmoreplendorhanever."22nthis eviewhe ournalistacitlyonnectedheYear IIconcertst theTheatreeydeauo theConcertspirituels,herebygivinghe heateroth re-Terrornd nti-Jacobinssociations.hereviewer,owever,verlookedhefact hat heTheatreeydeaundtheConcertspirituelsada tenuouselationshipt best.nthe astyearsf heirxistence,heConcertspirituelsere erformedntheSalledesMachinesf heTuileriesalace,whichoncurrentlyousedtheTheatreeydeau.espitehefact hat heyharedhe ame udi-torium,achenterpriseaintainedts wn dministrationndcon-tractedtsperformerseparately.23fterhefinal oncertpirituelhadbeenperformednMay1790, heTheatreeydeauthen heTheatreeMonsieur)ademployedhename f heConcertspiri-tuelsnorder osell ts wn hort-livederiesf oncertsn1791.Butaside romhis pportunisticseof heConcertspirituels'ame, he1791performancesttheTheatreeydeauorenoconnectiono thethen efunctoncerteries.24The aforementionedeviewlso uggestshat heTerroristsadegregiouslyuppressedoncerterformancend ubstitutednaesthet-icallynferiorode fmusicalxpression.heFeydeau'soncertsnYear II,heimplied,ectifiedhemistakesf heTerroryreclaimingthe xcellencef hepast. nshort,his rticleepresentedheFey-deau'sconcertss establishinglinkbetween ear II andpre-TerrorFrance hatneatlyuited hepolitical urposesf a widerange freactionarypinion.Their ttendancet these oncerts,herefore,constitutedn act ofdissent, rejectionfthe Terrornd all thoseassociatedwith it.25



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CounterrevolutionnConcert37The firstoncertobeperformedt theTheatreeydeauuringtheThermidoreaneaction ook lace n7brumaireII (28October1794) nddrew pon he alentfthat heater'srchestra.hedescriptionf he oncertnParisianewspapersade omentionfany ubsequentoncertsrthe naugurationf series f oncerts.Tendaysater, owever,erformersrawn romheranks ftherecentlyreatednstitutational eMusique,heforerunnerf heConservatoire,fferednotherrchestraloncert.26hisperformancewasfreend pparentlyttractednunusuallyargerowd.27n 29

brumaireII (19November794) notheroncert asoffered,ndwithhis erformanceregularoncerteries as stablishedt theTheatreeydeau.What istinguishedhis vent romoth heprevi-ousconcertsas hepresencef he normouslyopularenor ierreJeanGarat.28 isperformancest theFeydeauncreasedublicnter-est nthe oncertsmmenselynd nsuredapacityudiences.29 arathadperformedt court rioro theRevolution,ndduringheTerrorhe hadbeen mprisonedrieflynRouen.Hispast, herefore,avehimmpeccablehermidoreanredentialsndmadehim hedarlingofpoliticaleactionaries.ndeed,he lose dentificationetweenhissingerndhisfansmonghe eunesseoree arned im he itle"Corypheees ncroyables."30ny iscussionf heYear II concertsinevitablyentionedhis enor,ftenraisingisvocal trengthndagility.Themusic erformedt the oncertsf heYear II seasonwasmixturef nstrumentalndvocalworks,oncludingach imewiththegreat arat ingingpopularir.Everyoncert asdividedntotwo arts,achhalf ustomarilyeginningith symphonyrover-ture.31heorchestralntroductionas hen ollowedyvocal irs,dramaticuetsxcerptedromperas,oncertos,nd ymphoniesconcertantes.32nstrumentalieces hat elebratedreatventsnthehistoryf heRevolution,uch sDevienne'satrioticymphonyabatailleeJemappesndCatel's horusa batailleeFleurus,ppearedonprogramsarlynthe eason, ut uch ommemorativeiecesquicklyisappearedromhe oncertepertoire.heonly atrioticwork o beperformedfteranuary795was nHymneatriotique,withmusic yGluck rrangedor nunspecifiedext.33learly,heFeydeau'sdministrationnderstoodhat heirudiencesreferredottocelebrate heachievementsf theRepublic n a mannero reminis-cent ofTerroristultural olicies.Reviews f theconcertsffusivelyraised heperformancesndfrequentlyingled ut thesoloists or cclaim. n general, eviewersdeemed hepopularityftheconcerteries o bewellmerited;ome



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38 TheMusicaluarterlyaccounts ent o far s to abel heFeydeauoncerteason sa schoolofgood aste.34ydescribinghe oncertsnthis ashionhereviewermockedhe estheticims f hegovernmentftheTerror,hichhadworkedo convertheatersnto chools fmorality.fter her-midor,uch ighteousoals adbecomearnished.heRepublicfVirtuenvisionedyRobespierreadfailedmiserably,ndas a resultthemoralisticdeals ssociated ith twere ow aintedy ynicism.Althoughhegovernmentf heDirectoryontinuedosupporteffortsoeducateheFrenchnthedutiesf itizenship,he udienceof heFeydeauhowedontemptorhis roject.ntheiryes hepurposef heperformingrtswas ntertainment,tyle,ndrefine-ment.Goodtaste lonemattered.Theadministrationf heTheatreeydeau,ware f hepopu-larityf hese oncertsmong well-to-doector f hepublicndever onsciousf hebottomine, sed he oncertss a meansfboostingheir evenuesndmaintaininghigh rofile.heboxofficeacceptedopasses rfree dmissionsor he oncerts.nyone ish-ing o attend concert asforcedo waitna ticketinefor hree ofour oursnorderopurchasesingle illet'entree.35sa result,ticketsor concertttheTheatreeydeauecame neof hemostsought-afterommoditiesnfashionablearisianircles. wingo thehigh emand or ickets,calpersended ocongregateear heThe-atre eydeaun the veningsf oncerterformances.hepresenceof uch llegalctivitiesnsuredhe ttentionf hepolice ndbroughtheFeydeauurtherublic otoriety.36The uxuryxhibitedy he rowdsttheFeydeaueflectedheirwealth ndrankwithinhermidoreanociety.he ostentatiousis-play,whichontrastedostarklyithhe deals frepublicanirtue,quicklyecame oliticizedndwas itherecriedr audednstarklypartisanerms.epublicanewspapers,ttheirmost enerous,nter-pretedhedemonstrationsfwealtho be inbadtaste.With hewinterf1794-95 he oldestnmemory,nflationta recordigh,and arge umbersfhomelessamiliesivingnthe treets,heflauntingfwealth t theFeydeau asdeemedymanyo beinappro-priatetbest.37eviewersrguedhat he xhibitionismf he udi-encesmarkeddeclinensocialmoresnd retreatromhe deals ftheRevolution.38he vast iscrepancyetweenhe lipperedomenandmennthe uditoriumndthepovertyvidentust utsidehetheaterncouragedther eviewerso adopt decidedlymoral oneincriticizingoncertudiences.One criticwrote hat the excess ffinerytimulatesnvy, roubleshedestitute,ndappears o insult hesimple nd decent ttire fthemajorityf citizens."39he reviewer



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recognizedhewealthnddistinctionpparenttconcerterfor-mances obe inherentlynegalitarian,t eastntheface f uch reatneed.Critics f heFeydeau'sudiencesepresentedhems unthink-ingdilettantesho valuatedheperformancesnthebasis freputa-tion atherhanmerit:Scarcelyad Garat]egun, hen e isinterruptedy pplause. e wants ocontinue;heytill pplaud. esingsmid hehubbub f lapping.hadwantedohearhim-impossibleeteveryonessured ethat e had ung etterhanever, hat e was heOrpheusfFrance."40hisdescriptionffersratherismal,f omewhatxaggerated,iew f he oncertsttheFeydeau. evertheless,tattestsotherole hat he udiencelayedatthat heater. heoffstagectivityn the uditoriumas s muchpart ftheperformancesthe oncerttself.Instarkontrast,pologistsor he oncerts inimizedhe ignif-icance f uxurynd ttemptedoturn he udience'sascinationithfashionnto virtue.

Thegreatoliticaluestionf uxuryeems ousto be decidedgainstourmodemmoralists. . . These bombasts re rritatedo see somewomen ressednsilk; heyorgethat his abricstheproductfourown oil ndndustry,nd hatnproscribingtwewouldhutffmajorourcef ur national]ealth.41Suchdefensesf heFeydeau'sudiences,owever,ere are. armore ewspapersepeatedlyentionedhe stentationf heFey-deau's udiencesndcreatedwidespreadmpressionf heTheatreFeydeaus a center f howyffluencehich tsdetractorsnterpretedto reflecteactionaryutlook.42

Dramatizing heConcertsThepopularityf heFeydeau'soncerteriesfYear II amongeac-tionaries,ndthe eunesseoree nparticular,ulminatedna contro-versyhat ccentuatedhepoliticalignificancef hese erformances.On 1pluvi6seII (20January795) nanonymousaudevillentitledLe concerte la rueFeydeau,nwhich heauthoreverelyriticizedJacobinsndcomparedhem o assassins, remieredt theTh6itredela Cit&-Varietis.43wo weeks ater, n 15pluvi8se II (3 February1795),Audinot's heatre e l'Ambigu-Comique,ne of the boulevardtheaters,remierednother laywith hesametitle.44 he comedy



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lightlyidiculedhe udiencesf heFeydeauoncertsnd xagger-ated hefoppish annersf he eunesseorde.Thestoryf heAmbigu-Comiquelay ocusesna youngwoman, ddleDorval,who sobsessed ithveryurrentad. heisencouragednthismania, o thedistressfherhusband,y wofriends,hewealthyorneliandthefoppishesrosees.hese ocial-ites onvinceAddle hat heneeds oattendhenext oncertt theTheatreeydeaunorder o establisherselfirmlyithinheupperranksf ociety. oreover,heynsist hat hebuy new ndextremelyxpensiveressxpresslyorhe ccasion.Withoutspec-tacularown,heyellher, hewill e ridiculedndfail o make herequisitempressionn theFeydeau'sudience. o pay or er oncertattire, ddle ecides o borrow oneygainster on's nheritance.Whenherhusbandears fher ntente isfurious,utnoamountf pousalage rpleadinganchange dele'smind. inally,as a last esort,orval ends heirnly hild,Auguste,o seehiswife. ugustentersarryinghe egal ocumentseeded o turn ispatrimonyver oAddle othat hemay isposef tas she eesfit.Atthe ightfher hild lacing isfinancialuturenherhands,Addles overcomeith uilt. hesuddenlyealizesow lose hecame otradinguguste'sconomicecurityor neveningf ransi-toryleasurettheFeydeau.he refusesoaccepthemoney.o therelieffherhusband,ddle eturnso therole f upportiveifenddotingmother,herole hat hehadfilled ithoutomplaintrioroher bsessionith he oncerteries.WhenDesrosdeseturnso askAddlewhyhehasdecidedgainstuyinghenewgownnd ttend-ing he oncertttheFeydeau,herespondsith assion:I amamotherclaspinger on n her rms],eresmy inery."45bviously,Ad"le'smaternalovehasovercomeermoreuperficialnterests.46The eunesseordettendinghepremiereoundmuchocriti-cize n theplay, ut hey bjectedspeciallyo the haracteresro-sees, vaindandy learlyntendedo satirizehem.47nsultedy hejokesmade tDesrosde'sxpense ithinheplay, groupfyoungmen tthepremiereeactedngrily.hey oisilynterruptedheactorsndclamoredoromeoneo burn copy f heplay.48hepolice fficerndutytthe heaterestoredrdero the uditoriumonly fterssuringheunrulyrowd hat e would ake heplay otheCommitteeorGeneral ecurityor eview.The followingvening representativefthepoliceread mes-sagefromheCommitteef General ecurity, hichhad approved econcertela rueFeydeau or erformance.he majorityf theaudi-enceapplauded he etter, ut mmediatelyfterwardsnother roup



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Theatreel'Ambigu-ComiquenJanuaryf hat ear. hisplaydepictshe oncertst theThdatreeydeaus a respectableormfentertainmenthat ttractedolid itizens hohad ufferedromheexcessesf heTerror. nlike he ther laysf his itle,Martain-ville ndChaussier'somedy akes ew eferenceso theThedtreFeydeautself,et hose ewre ignificant.From he tart f hedrama e knowhatMonsieurndMadame elval, heprincipalharactersf heplay, lan o attendthe oncert ith heirwo hildren.lthoughseeminglyinorpoint,his s of normousmportancehen ontrastedithhe mageof heFeydeau'soncertss scenes fdepravitynd morality.elval,good ourgeoishat eis,would everakehisfamilyoanythingutthemostwholesomef ntertainments.y his implemeans,Mar-tainvillendChaussierrojecthe magef heFeydeausa familytheater. oreover,heBelvals redepictedspatrioticrenchitizenswho dhereo the deals f pre-Terrorepublic.stheplay pens,wesee Madame elval rginger on ostudyhe droitsel'homme"ndprepareimselfo become betteritizen,ncontrasttoJacobins,ho, n her pinion,re ompletelyithoutonor.55The authorsfLeconcerte arue eydeaultimatelynite hefamily'satriotismith hepoliticsfreactionhen heyntroduceAlbin, cousinfMonsieurndMadame elval.Albin sa soldierwhohasrecentlyeturnedromhe rmy.na briefirheexpresseshispridethavingefendedheRepublicnbattlegainsthe slavesofkings."56onetheless,is redentialss an anti-Terroristredem-onstratedimultaneouslyhroughhemusicfhis ir.ChaussierndMartainvilleet hewordsfhis ong o the une f Reveil upeu-pie," he nfamousnthemf he eunesseoree.Moreover,lbinrepeatedlyraisesheFeydeau'soncerteries s a sign fFrance'sculturalesurgenceollowingheTerror.57hroughlbin, herefore,the udiencesencouragedoaccepthe nti-Jacobinessagef heplay spatrioticndtoview he oncertsttheTheatreeydeausthe ulturalxpressionf hatmessage. lthoughheplay eceivedlukewarmriticalesponse,t continuedoattractrowdsntoMay1795,ong fterheFeydeauadgivents ast oncertf he eason.58Eachof he hree lays iscussedbove xploitedhepoliticalresonancehat heFeydeau'soncertsossessed.hemeaningf hisdissent aried rom lay oplay,but nall three heFeydeau epre-sented cultural orumhat ncouragedndindulged eactionaryopposition. iventhis tmosphereftolerance,t is notsurprisingthat hegovernmentiewed heFeydeau uspiciously.he successionofdramas ntitled e concertela rueFeydeaundicateshatbythe



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CounterrevolutionnConcert43summerf1795 heThedtreeydeauadbecomemorehan merelocation fpoliticalebate;twasnow culturalymbolfreaction-ary issent.

The TheatreFeydeau and theGuerredes ChansonsTheargumentsver hevariousroductionsfLeconcerte arueFeydeauoincided ith he tartf notherulturalebate, hich ascome o beknown s theguerrees hansons.heRevolutionadinspirednumberfpopularongs,nd ome f hem,uch s"Lacarmagnole"nd Ah .a ira,"were loselyssociatedithheTerrorandmobviolence. s an actofmusicalppositionhe eunesseordeadoptedhe Reveil upeuple"stheirwn nthem.ean-MarieSouriguereeSaint-Marc,younglaywright,rote he ext.59Souriguere'syricsimedtinflaminghepassionsf ts istenersndunifyinghemgainst acobins,r, s hedescribedhemnthe econdverse,those rinkersfhuman lood." hetext's iolentmageswereet oa ratherauntymelodyyPierre aveaux,ne of heprincipalenorst theTheatreeydeau.60hesong ainedmmediatenotorietynd nitiatedheguerreeschansons.hroughouthespringf1795, udiencememberstseveralarisianheatersdemandedhat rchestraslay hemelodyf Reveil upeuple"rthat performeringtonstage.61udiencest theFeydeau ereprominentmonghosewhodemandedhe Reveil upeuple"naregularasis.62

Thepublic isruptionsnvolvinghe Reveil upeuple"ontin-uedthroughouthe ntireummernd nto hefall, ecomingncreas-inglyeated nSeptember795.63 evertheless,hegovernmentstudiouslyvoidedntagonizingonservativeoliticalactionsnd nmost ases ollowedcoursefbenigneglect.heattacky oyalistson theNational onventionn5 October795, hortlyeforeheimplementationf heConstitutionfYear II,however,orcedhemoderatesnthegovernmentodisassociatehemselvesromhemostconservativeoliticalroups.64hethreatfright-wingnsurgentsothe quilibriumf heRepublicedthenewgovernmentoasserttsmoderateosition ore ecisively.65o indicatehat hegovernmentremained epublicannspiritndheld firmo the dealsoftheRevo-lution, heExecutive irectoryublishedn orderntendedobolsterrepublicanpirithroughheperformancefpatrioticunes.Thedecree equiredll theaters obegin acheveningwith heperfor-manceofofficiallyanctionedongs,naminghe"Marseillaise,"Ah



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ga ra," Veillonsalut e l'empire,"ndthe Chant udepart"sparticularlyuitableor his urpose.ncontrast,heExecutiveirec-toryorbadehe ingingf themurderousir, heReveil upeu-ple'."66 urthermore,heDirectorsnjoinedhepolice o arrestimmediatelynyndividualshodemandedhereturnfroyalty,exhortedn audienceorebellion,rcalled or hedismissalf hegovernment.Attheatershroughouthe ityhe nforcederformancesfpatrioticongs eceived ixedudienceeaction, ith ome actionsapplaudinghile ther roupsissedndbooed he Marseillaise."67At theTheatreeydeauhis ecree aused atronseatedn theloges-themostxpensiveeatsnthe heater-toomplainoudly.68Eventuallyhedisputepilledeyondhe onfinesf heateruditori-ums ndoccasionallyook violenturn. or xample,ierreGaveaux,omposerf he Reveil upeuple"ndone of heTheatreFeydeau'sest-knownenors, as ttackedndbeaten y band f"patriotsf 89"for isrole nthe reationf hat ong.69 onethe-less, heDirectoryemainedeterminedo mplementhenewpolicyconcerningatriotic usic espitehe ppositionountedgainsttheir ecision.o this nd, heministerf ustice,hilippentoineMerlin eDouai,wroteeveralettersothe heaterdministratorsfParisn which eurgedhesentrepreneursoproduce orkshatwouldndearheRepublic,n tspresentorm,o audiences.70lti-mately,heDirectorsxtendedheir rdero nclude heatersthroughoutllofFrance,nindicationf heiresolveo nstitutetheiruthorityhroughhemanipulationf he ulturalymbolsftheRepublic.71Inmid-February796 heDirectoryttemptedostrengthentscontrolver arisianheatersven urthery rderinghepolice oclose ny stablishmenthat romotedisorderrdepravedublicspirit.72heresponsef hepoliticalppositionothe trictnforce-ment f heDirectory'srders,owever,ow ook nunexpectedturn.ndividualspposedo theDirectory'solicies o longerisputedgovernmentuthorityirectly;nstead,eferencesorepublicandealsinsongs, lays,ndoperaseceivedironicpplause."3For xample,audiencest theTheatreeydeaupplaudedherequirederformancesof he Marseillaise"utmade ertainhat heirhow f upportwouldnot be taken t facevalue.Conservativesither lapped nalukewarmashion,rthey emonstrateduchoverblownnthusiasmthatno one couldhelpbutrecognizehe nsincerityf their pplause.Occasionallyhe eunesse ordewould pplaud single ineorphrase rom song hatwhenripped romtscontext ssumed new



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CounterrevolutionnConcert 5anddifferenteaning.or xample, heneversingerttheFeydeauperformedhe Marseillaise,"hese oungmenwouldoudlypplaudthephraseTremblezyrants,"nsuringhat hose roundhem nder-stood hat he yrantso whomhey eferredere epublicans.7ike-wise, hepoliticalightmployedxcessivepplausenordero renderinaudiblehoseentimentsithwhichhey isagreed.75headminis-trationf heTheatreeydeaulsoparticipatednthe ronicecep-tion fpatriotic usic,t east acitly,hen tallowed,much o thedelightf ts udiences,n untrainednduntalentedingeroperformtherequiredong.76n thisway he heaterompliedechnicallyiththeDirectory'secree ut imultaneouslyxpressedympathyor hereactionariesn the udience. fcourse,ndividualsith epublicansympathieslsodemonstratedt theFeydeaunoccasion,ut hepicturehat olice eportsndnewspapersrewnearly 796 ug-gestedhat heFeydeau'sudience asmore ften han ot xtremelyconservativen itspolitical utlook.77Theappropriationf heThedtreeydeauyultraconservativesfor transparentlyolitical urposeltimatelyroughthe heaterunder losegovernmentcrutiny.ubsequently,n27February796theDirectoryssued decreenwhich tshut own heFeydeaulongwitheveralxtremistoliticallubs nd ssociations.78heclosuresnotonlyllustratedheDirectory'sendencyomaintainrderthroughepressiveeasuresut lsoreflectedhegovernment'ser-ceptionf heThdatreeydeaus a center or eactionaryealots.Their ecisionosingleut heFeydeaurommongll other arisiantheatersor his ormf ensureuggestedhat heDirectorsiewedtheFeydeaustheroyalistounterparto the ssociationsfradicalrevolutionarieshatwere losed nder he ame ecree.79Theatricalisruptionsidnot ease mmediatelynce hegov-ernmentlosed heThedtreeydeau;hepatronsf heFeydeaumerely oved n to theThedtreouvois,heTheatre uVaudeville,andotherheaters,herehey ehavednthe ame isorderlyan-ner.8souriously,he eunesseorde idnotmountny rotestnsupportf heFeydeau,he ne theaterhat adbeen inked irectlytotheirnterests.ndeed,he nforcedlosuref heFeydeauoin-cidedwith hegradualubsidencef heatricalisturbances.heAbriviateurniverselomically epicted hemildresponsefconserva-tives o thenewsof theFeydeau's losure:

[I]nthegilded alons,firsthey remble-one heateress . . Thenerves f the women refrightfullytrained. inally ecoveringhem-selves, hey omparedhetwoevents i.e., theclosing f thePantheon



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46 TheMusicaluarterlyClub,a radical evolutionaryssociation,ndtheclosing ftheThe-atre eydeaul,nd t sdecidedhat he losuref heFeydeausa sopof consolation iven o theJacobins.81

The conclusionf he uotationssignificantnthattpointedutthat heFeydeau as he nlynstitutionssociatedith eactionarypoliticshatwas losed nder his ecree. herewas simpleeasonfor his. heDirectoryovernmentad hiftedomewhatotherightin the arly art f1796, ndthiswing asreflectedn the hoice festablishmentso be closed. onsequently,he eunesseorde idnothave otake othe treetsofighthe losingfFeydeau;heytillhadmanytherheaterso attendnd nwhich oexpressheirolit-icalviews. s theAbreviateuruggested,hegovernmentlosed heFeydeausmuch oappeasemoderateeftistsstopunishhereac-tionaryight.TheTheatreeydeau asnot losed orong.The Directorsquicklyelentednd llowedt toopen tsdoorsgain n1April1796.Nevertheless,heyimultaneouslyarnedll theatershat nydisruptiveehaviory heir udiencesouldead o additionallosingsinthefuture.82fcourse,ncidentsnvolvingronicpplausenddisruptiveehavioridnot mmediatelyisappearromheFeydeauandotherheaters,ut uch vents ccurredithess requencyndless tridencyhan efore.83herelativealm hat escendedponParisianheatersn the ate pringf1796representedhegrowingconfidencefmanyf heright-wingactionsatherhan he uccessof heDirectory'sttemptsosilence hem. hegovernmentadturnedts ttentionromhe hreatf ounterrevolutionothe hreatofradicalevolutionaries.84n late pring796 henumberfprotestsover he Marseillaise"ndthe Ah ga ra"declinedecauseherewasnolongerneedforonservativesoprotest.y he ummerf1796 heguerreeschansonsppearedo haverunts ourse.

The ConcertsofYear VBy he utumnf1796, he ntigovernmentervorhat adprevailedattheTheatreeydeauhroughoutheguerreeschansonsolongermanifestedtselfna violentmanner.hemovementf heDirectorytotheright edirectedudiences' olitical assions ndtransformedthatmusicalwar nto formf socialandpolitical litism.nsteadofusing heTheatre eydeau s a forumor olitical onfrontation,audiences in 1797appropriatedt as a vehicle nwhich o affirmheir



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CounterrevolutionnConcert47controlver rance'sulturalymbols.nceagain, series f on-certs lannedttheTheatreeydeauffordedhem means oattainthis oal.With few otablexceptions,hemusic f he oncertsf heYearV season esembledhat fYear II. Thetheaterdministrationclearly odeledheYearV concertsn those f woyearsarlier.Overturesnd ymphoniespened achhalf f veryoncert,ndthebalance f nstrumentalo vocalmusic emainedhe ame.Garatappearedncemore s thefeaturederformer,ndagain eluredlargerowdsotheFeydeau'soxoffice.85ncontrasto the oncertseries fYear II, thenew eason'srogramsncludedo works ithpatrioticitles. uchdescriptiveitles adalreadyisappearedy heendof hepreviousoncerteries,o their bsencen1797 s notsurprising.therhangesncludedhe ntroductionf fewworks orsolofortepianondharp swell s the nclusionfmore han dozenItalian irs nd cenes.86As with he oncertserformednYear II,most eviewersotedthe ffluencef he udiencemembersndcommentedpon heirpretentiousisplayfwealth.nYearV, however,eferencesoopu-lence vertookhediscussionsfmusicndmusiciansntirely.on-cert eviewsecame latformsrom hich riticsurveyedheprevailingocial ustomsndmores. riticsitherraisedudiencesfor heir allantehaviornddecorouseautyrcondemnedhemortheir astelessaradef xtravagance.ny uriosityffashionmme-diatelyaused "scandal"nwhich udiencettentionocusedn anoutrageousatoran unusualoiffure.87ocietyecame reoccupiedwith outurend amode s itretreatedurtherndfurtherromhesevereusterityhat acobinsuch sRobespierreadadvocated.Thevariousads ndfoiblesf ontemporaryarisianashiondominated ost f hese eviewsndconfinedhediscussionfmusicinsome ewspaperso a few oncludingentences.88venwhen hefashionsere ot xtreme, ost bserversound hewomen'sppareltobemoreworthyf ommenthan heperformance.89nereview,which emarkedxtensivelypon he ttire fwomennthe udi-ence, imitediscussionf hemusic o the ingleomplainthat heinstrumentaloncertos ere too ong."90till nother hinedboutthe engthymusicalheses"hat he olo nstrumentalistslayed.91The lackofseriousmusical riticismuggestedhat hesocial andpolitical ignificancettached o theperformancesoncerned udi-ences more hanthemusical ontent f theconcerts. udiences ypi-cally rrivedate and talked hroughmuch f theperformance.nlythesoundofGarat'svoicetransfixedhecrowd's ttention n stage.92



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48 TheMusicaluarterlySuchbehaviory oncertudiencesrovokedhederisionf

journalistsho ook dim iew f hefashionableisplay.ften,hepatronsf heFeydeau ere riticizedor heirstentation,hileoutsidehe heatereoplewent ungry.93heharshestriticsf on-cert ocietyrguedhat he ocial ircles hat atronizedhese on-certs ere undamentallymmoral.94hecomplaintsf heFeydeau'saudiencendtheiravishxhibitionismestedpon he ssumptionthat,theuxuryas llgotten.heFeydeau'sudience,riticsassumed,adbuilt heir ortunesrominancialpeculation,rofi-teering,ndpoliticalorruption.Throughhe oncertst theFeydeau,hepubliconsumptionfmusic ecame formf ocial ndpoliticaldvancement.ertainly,musicalerformancead erved similarunctionuringhe ncienregime,owever,hehighlyublic aturef heFeydeauoncertsrepresenteddepartureromast ractice.heshowyisplayhatwassoimportanto audiencesouldnotberealizeduccessfullyithoutpublicpace ree rompreordained,onarchicalrder.95sa resultaudiencessed he uditoriumf heFeydeauodemonstrateheireconomictatusnd ubsequentoliticalnd ocial nfluence.Thechoice f heFeydeau'soncerteries sthe ppropriatelocale oruch stentation,swehave een, wed greatealtoconcertife riorotheRevolution.heperformancefmusicnaconcertormat,owever,lsorepresentedformfdisplayn tself.In the bsencef imitationsmposedy libretto,usic--andnstru-mentalmusicnparticular--constitutedformfmusicalisplayhatsuited he udience'swn oncerns.96oncerterformanceequirednosuspensionfdisbeliefrfocusingn a narrative.n the ontrary,concertsllowedndevenwelcomedhe udienceoparticipatenthe ventna way hat ramaticepresentationouldnotpermit.nshort,heFeydeau'soncertsrovidedhe udience ith nopportu-nityoperformswell sto isten.The two oncerteriesf heTheatreeydeau,eparatedy heguerreeschansons,eflectedhe ransformationfParisianocietythat ccurreduringheThermidoreaneactionndthefirstirec-tory.What egan sa formfpoliticalissentn1795becamemeans fcelebratingocialstatusn 1797.Ofcourse, ntigovernmentandantirepublicanentimentersisted,utaudiences rticulatedtina more ubtle ndlessviolent ashion.n general,he shiftnthemeaning ftheFeydeau's oncertseflectedhegradualmoveofthegovernmentowardhepolitical ightswell as the ncreasingivicapathy f French ociety,whichperceivedhegovernmentftheDirectoryobe ineffective.



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CounterrevolutionnConcert49The theatricalisturbancesf1795 rose sa part fthegeneral

anti-Jacobinood hat rrivedn theheels f heTerror.uringheThermidoreaneaction onservativesevelopedheiroliticaldealslargelynoppositionothepoliciesf hegovernmentf heTerror,andtheyemainedonstantlyigilantor he lightestign f repub-lican esurgence.ith he stablishmentf heDirectoryndthatgovernment'sepressionfrepublicanxtremism,oliticaleactionar-iesgainedmore ndmorenfluence. ithnosignificantoliticalthreatacinghem,onservativesurnedheirttentionn ate1795and1796 othe ymbolsfrevolutionndreaction.hroughheguerreeschansons,eactionariesxploitedhe magefpastJacobinoppressiono advanceheir urrentoliticalosition.ndoingotheycontinuedheirtruggleor reateroliticalontrol. side romhebrieflosingf heThdatreeydeau,hismaneuverrovedruitful:yearly 797 hegovernment'soliticalenterad hiftedignificantlytotheright.Duringhe oncerteries fYearV thepatronsf heTheatreFeydeauransformedhefightvermusicalymbolsnto nexhibitionofpoliticalnd ocial rominence.ndoingothey otonly dver-tised heir ositionf nfluenceut lso trengthenedheirutureulein Frenchociety. nlike henobilityf he ncien egime,he on-certgoersnjoyedn elite tatushat adnobasisnbirthright.nthe ontrary,ealth ndproperty,cquired y nymeans,ormedhefoundationornfluencendprivilegenderheDirectory.ecauseeconomic estraintndfrugalityadmarkedheTerror,heparadefaffluencet theTheatreeydeautill onstitutednactofpoliticalreactiono thepoliciesf heYear I. Furthermore,talsorepresenteda displayf ocial istinctionntendedoseparate ell-heeledudi-ences romheworkinglass,which adcome opersonifyerroristviolence.nthisway he oncertsffordedhewealthierembersfthe udiencenopportunityoreifyoth heir oliticalositionndtheir ocial rominence.n 1795 he oncertst theTheatreeydeaurepresentednrulyeactionaryoliticalissent,utwithinhe paceof woyearsudiences adtransformedhesemusicalventsntomanifestationf litistocial trengthhroughnunequivocalisplayofprestigendfashion.Notes1. TheThermidoreaneaction ates romhe ollapsef hegovernmentf heTerrorn9 thermidorI (27July794).TheThermidoreansroducedheConstitu-tion fYear II (1794-95),whichstablishedheDirectory.hefirstirectoryaselectednSept.1795 ndremainednpowerntil he lectionsf heYearV (spring1797),whenarge oyalistainsweremade. heConstitutionfYear II dividedhe



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50 TheMusicaluarterlygovernmentetweenn executiveranch,onsistingffive irectors,nd woegis-lativessemblies,heCouncil fFiveHundrednd heCouncilfElders. heformerbodyould roposeegislationutwasunableo createaw.The atterebatedheproposedegislationf heFiveHundrednd ould ransformhese esolutionsntolaw.Georgesefebvre,heFrenchevolutionLondon: outledge,962-64), :160-62.2. For morehoroughiscussionf his heateruringheRevolutioneeMichaelE. McClellan,Battlingver he yric use: xpressionsfRevolutionndCounter-revolutionttheThe*treeydeau,789-1801,"Ph.D. diss.,UniversityfNorthCarolinatChapelHill,1994).3. Therevolutionariesreatednew alendarhat ated llyearsromhe stablish-ment f heFrenchepublicn22September792.Fornformationnthedevelop-ment f he alendarnd tsuse eeService es alculs tdemecaniquedleste(France),ecalendrieripublicain:e sacreationsadisparitionuivi 'une oncordanceavec ecalendrierregorienParis: ureau es ongitudes,989); ndPierrearon,Concordancees alendriersipublicaintgregorien,ublicationse a Socidtd'histoiremoderne,o. 1 (Paris: ellais, 905).4. What nitedhe eunesseorde as heirtrongversionoJacobins.hopkeep-ers,aw lerks,ndothermen fmoderate eansoined he ons f hebourgeoisieand ristocracynforminghese roups.or social rofilef heeunesseordeeeFrangoisendron,a eunesseous hermidorParis: ressesniversitaireseFrance,1983), 3-28.5. DenisWoronoff,heThermidoreanegimend he irectory,794-1799,rans.Julian acksonCambridge:ambridgeniversityress,983), .6. DatingheTerrorsproblematic.heNational onventionfficiallyeclared"terrorsthe rder f he ay" n5 September793;however,y hat ate everalpoliticalhangesssociated ith heTerrorad lreadyeenmade. rom he xecu-tion fLouisXVIon21Jan. 793 ntil Sept.1793 heFrenchepublicnderwenta gradualrocessfradicalizationhat ulminatednwhatscommonlyeferredo astheTerror.ncontrast,heTerror'sonclusionseasilydentified:tcame o an endwith he rrestfmembersf heCommitteeor ublic afetyn27July794.7. Furthermore,he normousnflationate f1795-96 esultednthe ramaticiseinthepricef dmissionotheaters,akingicketsluxury.ttendancet thetheater,herefore,as markfwealthnddistinctionor heeunesseorde.nvent6seII (Feb.-Mar. 795) hehighest-pricedickett theTheatreeydeau as7livres, hile he heapestost 0sols.Fivemonthsater rices addoubled:hemostexpensiveeats ost 5 ivresnd he east xpensiveost livres,0sols. eeAffiches,nnoncest vis ivers,8vent6seII (8Mar.1795), 808; ndJournaleParis,2thermidorII (9Aug.1795).For concise iscussionfFrance'sconomicstraitsnYear II seeLefebvre,:142-45.8. Alphonseulard,d.,Paris endantareactionhermidoriennet ousadirectoire:Receuiledocumentsour'histoiree 'espritublic arisParis: . Cerf, 898-1902),reportf4 pluvi6seII (23Jan. 795),1:416; eportf13pluvi6seII (1 Feb.1795),1:438; ndreportsf15-17pluvi6seII (3-5 Feb.1795),1:445-54.9. Most ftenhebustnquestion as fJean-Paularat,he evolutionaryhoseremainsadbeenplacednthePantheony heThermidoreanovernmentnorderto distancetselfromhe xtremeight.he destructionf hebusts as, o a large



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extent,direct eactiono this ct.Thegovernmentacked own n the ace f uchcivil isobedience.n 8 Feb.1795 t decreedhat o ndividualould eceivehehonorsf hePantheonntilt east enyearsfter isdeath.Gendron,04.10. Bronislawaczko,ndinghe error:heFrenchevolutionfterobespierre,trans.Michel etheramCambridge:ambridgeniversityress,994), 34-42.11. Thepolice eportsever ied ny ounterrevolutionaryctivityo theFeydeauadministrationirectly.evertheless,ntwo ccasionshepolice id invite"ingersfromheTheatreeydeauoexplain xtemporaneousoliticalommentshat heyhad d-libbednperformance,nd heFeydeau'sudiences,ith heirropensityordisorder,emainedsource fgreatoncernothegovernment.ulard,aris endantlarvactionhermidorienne,eportsf6-8 germinalII (26-28Mar.1795),1:600-607.12. Their irsterformancet theFeydeauook lace n8 pluvi6seII (27Jan.1795). eeSageret, emoirest ompteselatifsla reuniones rtistesranqaist 'ad-ministrationes roisthMctrese aRipublique,e 'Od~on,tdeFeydeauParis: etellier,1799), -10.13. Laya's 'ami es oix eceivedts irsterformancet the eydeaun6June1795, ollowedhortlyyNeufchateau'samelan24July795.Both heseworkshadbeenbannednSept.1794. eeAffiches,nnoncest vis ivers,5prairialII (13June 795), 011-12; ndJournaleParis,0prairialII (8June 795),1051, nd8thermidorII (26July795),1244.14. Therepublicanalendarividedvery onthnto hree ecadif endays ach.TheFeydeaucheduledoncertsorveryonidi,heninthay f achdecade.15. For hehistoryf heConcertspirituelsnd oncertife nder he ncienrdgime,eeMarie obillierMichel renet,seud.],es oncertsnFranceous 'ancienregimeParis: .p.,1900; eprint,ewYork: e CapoPress,970);Georgesucuel,La Pouplini&ret amusiqueechambreuXVIIIemeiecleParis: ischbacher,913;reprint,ewYork: a CapoPress,974); ndConstantierre, istoireuConcertSpirituel,725-1790Paris: eugel, 975). ee alsoJames. Johnson,isteningnParis: CulturalistoryBerkeley:niversityfCaliforniaress,995), 1-80.Johnsondentifieshevariousypesf oncertserformednParis uringhe igh-teenthenturyndprovidessocial rofilef heirudiences.16. TheTheatreeydeau,otably,ontinuedo offerubliconcertsfter790.17. Aside romheConcertspirituels,oncerterformancesuringhe ncienregimeeremost ftenrivatelyponsoredvents.With he lightfwealthyatronsearlyntheRevolution,his erformanceenue isappeared.eeWilliamaytonMontgomery,TheLife ndWorks fFrangoisevienne,759-1803"Ph.D.diss.,Catholic niversityfAmerica,975), 5,andBorischwarz,FrenchnstrumentalMusic etweenheRevolutions,789 o 1830"Ph.D. diss., olumbianiversity,1950), .18. Theconnectionetweenhe eligiousbservancend oncerterformanceasmade irectlyy he rtist arie-Louise-Elisabethigee-Lebrun.nhermemoirs,hedescribedttendingconcertoneof heConcertse arueClkry)rganizedyherbrotheruringheConsulate.hemade special oint fnotinghat hehall nwhich he oncertsere erformedadbeen sed uringheTerrors a makeshiftchapelnwhichmasses adbeen elebratedurreptitiously.ee Marie-Louise-



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52 TheMusicaluarterlyElisabethigee-Lebrun,ouvenirseMadameouise-Elisabethigee-LebrunParis:Fournier,835-87), :130-31.19. Abreviateurniversel,1germinalI (31Mar.1794),1820.20. "Ilme emblaittreA n pectaclees emsmonarchiquese rusvoir ev lardvolution."ecadehilosophique,0frimaireII (20Dec. 1794), 27.Newspapercritiquesnddefensesf henouveauxiches ho aradedttheTheatreeydeaucontinuedorhenext woyears.21. This eviewerronouncedheFeydeauo be oneof handfulf heatersapa-bleofmountinguch demandingoncerteries ecausef he uperiorualityf tsorchestralusicians.ournales hMdtrestdes etesationales,1brumaireII (1Nov.1795), 09-11.Since he arly 790s,when iotti as he heater'sirector,riticsconsistentlyaudedhe bilitiesf hemusiciansho erformedtthis heater.eeDavidCharlton,OrchestrationndOrchestralracticenParis, 789-1810"Ph.D.diss., ambridgeniversity,973),121-26.22. "Les oncertse a rue eydeau,elkbresar eurexecutionarfaite,vaientt6suspendusansetemsalamiteuxe a tyrannieictatoriale;lsviennenterepren-dre vecplus esplendeurue amais." ournales hidtrestdes etesationales,1brumaireII (1Nov.1794), 09-10.23. The Concertspirituelserenitiallyerformedn the alledesCent-SuissesftheTuileries;nlyfter784wereheymoved o the heaterntheTuileries,.e.,the alledesMachines.anielHeartz,TheConcertpiritueln theTuileriesal-ace,"Early usic 1 1993):244.24. SeeAffiches,nnoncest vis ivers,0Apr.1791, 479; 1Apr.1791, 499;22Apr.1791, 512; 3Apr.1791, 524; 4Apr.1791, 535; June 791, 050;and12June 791, 178.See alsoChroniqueeParis, 7Apr.1791, 28;20Apr.1791, 40;and22Apr.1791, 48.25. Johnson,istening,40-41.26. The nstitutationalemusique as stablishedn8 Nov.1793. tprovidedmusicor fficialtate ccasions.heConservatoireas stablishedn3 Aug.1795.SeeCynthia . Gessele,TheConservatoireeMusiquendNationalMusic duca-tionnFrance,795-1801,"n Music nd he renchevolution,d. Malcolmoyd(Cambridge:ambridgeniversityress,992):191-210.27. Affiches,nnoncest vis ivers,9 brumaireII (13Dec. 1795), 31.28. Garatwas monghemost amousenorsf he ate ighteenthentury.on-temporaryccountsfParis uringhe1790s arelyailedomentionhis ingerndhisphenomenaluccess.eeJean-Baptisteujoulx,aris lafin uXVIIIe iecle(Paris:Mathe, 801),117-20;Alexandrineophie awr,Mes ouvenirsParis: as-sard, 853), 3-53.SeealsoPaulLafond,arat, 762-1823Paris: olmann6vy,n.d.);andCharles odier,ortraitse aRevolutiontde 'EmpireParis: evasseur,1829; eprint,aris: allandier,989), :145.Thefascinationf udiencesttheTheatreeydeau ith aratwas idiculedn LouisMadeleineipault, neourneeeParisParis: ohanneau[1796-97]), 75-77.29. Bruno revan,LaRevolutiont sespublics,"nOrphe hrygien:esmusiquesde aRevolution,d.J.-R. ~myndJ.-C.KleinParis: ditionsuMay, 989), 4-35.



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CounterrevolutionnConcert5330. PetiteosteeParis, 6pluvi6se (4 Feb.1797), 00-401. Incroyables"asa label ppliedo thosemenwho portedhe xaggeratedashionenormouslyighcollars,reenravats,alkingticks,airworn avictime,tc.)that ppearedur-ing heDirectory.ee AileenRibeiro,ashionnthe renchevolutionNewYork:Holmes Meier, 988),111-17; ndFrangoisuretndDenisRichet,a RevolutionfranCaiseParis: ayard,973), 80-81.31. One ofHaydn'symphoniesas ommonlyhosenoopen he irstalf f heconcert.or list f oncertrogramserformedeeMcClellan,14-29.32. Thesymphonieoncertanteepresentedhemost opularnstrumentalenrefthedecade. arry. Brook,a symphonieranqaiseansaseconde oitieuXVIIIesiecleParis:nstitutemusicologiee 'UniversiteeParis, 962),1:395-405.33. McClellan,14-29.34. Affiches,nnoncest vis ivers,3 frimaireII (13Dec. 1795), 275, nd26frimaireII (16Dec. 1795),113.35. Decade hilosophique,0frimaireII (10Dec. 1795), 93,and30frimaireII (20Dec. 1795), 26-27; ndJournales hidtres,pluvi6seII (25Jan. 795), 05-6.36. Aulard,aris endantareactionhermidorienne,eportf11niv6seII (31Dec.1795),1:351-52; ndD&cadehilosophique,0frimaireII (20Dec. 1795), 27.37. For riefnalysesfFrance'sconomicrisistthis ime eeLefebvre,:142-45,andDonaldM.G. Sutherland,rance789-1815: evolutionndCounterrevolu-tionNewYork: xfordniversityress,986), 52-55.38. Decade hilosophique,0frimaireII (10Dec. 1795), 95, nd30frimaireII (20Dec. 1795), 32-35.See alsoWoronoff,3.39. "[L]'excese aparurexcite'envie,fflige'indigent,semblensulter amise imple decentse amajoritees itoyens."ffiches,nnoncest vis ivers,3frimaireII (13Dec. 1795),1275.40. "Apeine -t-ilommence,u'on 'interromptour 'applaudir;lveut ontinue,onapplauditncore:lchante u milieu ubrouhahaes pplaudissemens.evoulaisl'entendre;mpossible ais out e mondem'assurau'il vait hant6mieuxue a-mais, uec'6taitl'Orphdee aFrance." ecade hilosophique,0frimaireII (20Dec.1795), 30.41. ''Lagrandeuestionolitiqueu uxenous aroittre ecid&eontre osmo-dernes oralistes.. . Nosdeclamateurs'irritente voir uelquesemmesetues '&-toffesesoie; t lsoublientueces6toffesonteproduitenotrendustrie,tqu'enlesproscrivantousnous arissonsnegrandeource erichesseour ous." ournaldes hidtres,niv6seII (26Dec. 1794),163.42. Reportsf he eydeau'sealthyatronsven ppearedna German-languageperiodicalhat eportedn the ventsfFrance.rankreichAltona) 795, :282-83.43. Maurice lbert,esth~dtresesboulevards,789-1848Paris: oci&tdrangaised'Imprimerie,902; eprint,eneva: latkine,969),150-51.44. Rend erinndCammaille,econcerte a rue eydeau,uLafolieu our(Paris:Marchandeesnouveautis,n II [1795]).



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54 TheMusicaluarterly45. "Jeuismereserranton nfantans esbras] oilamaparure."erinndCammaille,9.46. Adele'scceptancefhermaternalolewas onsistentith epublicanalues.Activitiesywomenutsidehedomesticphereadbeen abelednpatrioticuringtheTerror,hileheworkfmothersndwives ithinhehomewas xtolled.OlwenHufton,WomenntheRevolution,789-1796,"nFrenchocietynd heRevolution,d. D. JohnsonCambridge:ambridgeniversityress,976),148-66;Candice . Proctor, omen,quality,nd he renchevolutionNewYork: reen-wood ress,990), 5-66; ndLynn unt, he amilyomancef he renchevolu-tionBerkeley:niversityfCaliforniaress,992), 9-123.47. Intheplay esrosdesmergess a coward hohas voidedmilitaryervicenthebasis fbad yesight.erinndCammaille,0-25.48. Mydescriptionf heperformancesf hisworkre akenromulard,arispendanta reactionhermidorienne,eportsf18-19pluvi6seII (6-7 Feb.1795),1:455-61.A briefummaryf ventssalsofoundnDecadehilosophique,0pluvi6seIII (18Feb.1795), 67-68.49. Revolutionaryariswasdividednto orty-eightocaldistrictsalled ections.See Ernest ellie, es ectionse ParisendantaRevolution,1mai 790-19vend&-miairen V:Organisation,onctionnementParis: usiege e a Soci&tee 'histoireelaRevolutionfrangaise,898).For brieferescriptionf he ectionsnd heiroleincity oliticseePierrearon tal.,eds.,Paris endantaTerreur:apportsesagentsecretsuMinistree 'interieurParis:ocietd 'histoireontemporaine,910-78),7: appendixesand2; andCobban, :197-98.50. Aulard,aris endantareactionhermidorienne,eportor 3pluvi6seII (11Feb.1795),1:470-71.51. Aulard,aris endantareactionhermidorienne,eportor 6pluvi6seII (4 Feb.1795), :450.52. Aulard,aris endantareactionhermidorienne,eportor 3pluvi6seII (11Feb.1795),1:472.53. A police eportescribedperformancet theTheatre eVari&tesuringhichconservativesespondedo the udience'show f upportor acobinsy houting,"The imepproacheshenwewillwalkn the acobins']lood "Aulard,arispendanta reactionhermidorienne,eportor vent6seII (24Feb.1795), :506.54. Hector haussierndAlphonse artainville,econcerte arue eydeau,uL'agrementu ourParis: arba,n II [1795]). hisplay remieredtMmeMontan-sier's heatre esVari&tesnthePalaisRoyal,notherheaternwhichonservativescongregated.ontansieradbeenmprisonednder heTerror,hichmade hetheaterhat ore ername ttractiveo reactionaries.55. ChaussierndMartainville,-5.56. ChaussierndMartainville,7.57. ChaussierndMartainville,9-20.58. Decade hilosophique,0pluvi6seII (18Feb.1795), 88-89;Feuilleritiquetlitt.raire,0 sic] ent6seII (3 Feb.1795), 7-59; ndFeuilleu alut ublic,ven-tase II (26Feb.1795), -3.



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59. Souriguereasdeportedollowinghe18 fructidor(4 Sept.1797) oup,nwhichoyalistsere urgedromhegovernment.60. For he ull ext f he ongeeJ.-B.Weckerlin,hansonsopulairesupays eFranceParis: eugel, 903), :148-49.61. These emandsere ommunicatedo the tage ymeansfnotesbillets)hataudience embersould hrownonymouslynstage. he notes ftenncludednti-Jacobiniradesswell.Aulard,aris endantareactionhermidorienne,eportf11niv6seII (31Dec. 1794),1:351-52; eportf4 pluvi6seII (23Jan. 795),1:416;reportf15pluvi6seII (3 Feb.1795),1:446; ndreportf16pluvi6seII (4 Feb.1795),1:449; ndAnnalesatriotiques,8pluvi6seII (6 Feb.1795), 17.62. Aulard,aris endantareactionhermidorienne,eportf28pluvi6seII (16Feb.1795),1:483-85; eportf8 germinalII (28Mar.1795),1:606-7; eportf10ger-minalII (30Mar.1795),1:617; eportf18 florealII (7May1795),1:703-4;reportf28messidorII (16July795), :82;reportf29messidorII (17July1795), :87;reportf1thermidorII (19July795), :91-93; ndreportf15ther-midorII (2 Aug.1795), :130.63. Thestrugglever hemusicalepresentationfFranceffectedveryocial ec-tor fParis.nJuly795 heNational onventionrderedheNational uard,which aradedveryay utsideheConvention,o marcho themusic f he"Marseillaise"achmorning.ntheday ollowinghis rder,portionf he roopsrefusedo marcho the Marseillaise,"referringhe"Rdveilupeuple"nstead.Afterlengthytandoff,heguard araded ithoutnymusic. eeAbreviateurni-versel,7messidorII (15July795),1084, nd28messidorII (16July795),1088.64. Woronoff,3.65. Woronoff,3.66. Althoughhe Reveil upeuple" adoriginateds a song freactionoJacobintyranny,y he utumnf1795 onservativesad doptedtas anantigovernmentanthemhat irectlyhallengedhe epublictself. ason, 54.67. Aulard,aris endantareactionhermidorienne,eportf heBureauentral,1niv6seV (11Jan. 796), :644-45, ndreportresentedo theMinisterof olice],21niv6seV (11Jan. 796), :646-48.68. Aulard,aris endantareactionhermidorienne,eportf heBureauentral,9niv6seV (9Jan. 796), :632-34, ndreportf heBureauentral,0niv6seV(10Jan. 796), :641;Abreviateurniversel,2niv6seV (12Jan. 796), 6;Rjdac-teur,4niv6seV (14Jan. 796), ; andTableaueParis,4niv6seV (14Jan.1796), -4.69. Tableau eParis,9niv6seV (19Jan. 796), .70. Some f heseettersrereproducednRjdacteur,2niv6seV (12Jan. 796),3-4, and17vent8seV (7 Mar.1796), ; TableaueParis,3niv6seV (13Jan.1796), -3; andAnnalesatriotiques,pluvi6seV (29Jan. 796), 30, nd21ven-tase V (11Mar.1796), 80-81.71. Annalesatriotiques,pluvi6seV (24Jan. 796), 97, ndTableaueParis,pluvi6seV (26Jan. 796), .



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56 TheMusicaluarterly72. Decade hilosophique,0vent6seV (10Mar.1796), 07-9.73. Aulard,aris endantareactionhermidorienne,eportf heBureauentralorpluvi6seV (22Jan. 796), :686;15pluvi6seV (4 Feb.1796), 34; nd22plu-vi6seV (11Feb.1796), 58.74. Aulard,aris endantareactionhermidorienne,eportf heBureauentralor9 pluvi6seV (29Jan. 796), :714;11pluvi6seV (31Jan. 796), :720-21; nd14pluvi6seV (3 Feb.1796), :731.75. Aulard,aris endantareactionhermidorienne,eportf heBureauentralor17pluvi6seV (6 Feb.1796), :742.76. Aulard,aris endantareactionhermidorienne,eportf heBureauentralor15pluvi6seV (4 Feb.1796), :734.77. The magef heTheatreeydeaus a centerfreactionaryctivitynd venroyalistntriguesreinforcednthememoirsf neof hedirectors.eeLouis-MariedeLa Revelli e-Lepeaux,emoireseLarevelliere-LpeauxembreuDirectoirexecu-tif e aRipubliquerangaisetde 'InstitutationalParis: . Plon, 895), :396.78. Archivesationales,F"', 351,dossier616.The decree as lsoprintednJournaleshommesibres,1vent6seV (1Mar.1796), 95;TableaueParis,1vent6seV (1Mar.1796), ; andAnnaleseParis,5vent8seV (5 Mar.1796),851.79. Censeuresournaux,4vent8seV (4 Mar.1796), -3. The Pantheonlubnumberedabeufmongtsmembers.80. Aulard,aris endantareactionhermidorienne,eportf heBureauentralor11vent6seV (1 Mar.1796), :16-17; ndreportf he ecretolice, 7vent6seV(7 Mar.1796), :30.81. "[D]ans es alonsdords;'abordnfremit:n pectacle oins . . Lesnerfsdesfemmesecrispent'unemaniereffreuse;ais nfinnrevient oi, ncompareesdeux venemens,t lestdecid6ue acl6tureeFeydeaustune ichedeconsolationonnee ux acobins." breviateurniversel,6vent6seV (6Mar.1796), 60.Thesame rticlelsorecordedhe eactionfworkersromheFaubourgSt.-Antoineo the losingf heFeydeau.heir luntesponseas [']a devoitinicommega."82. Annalesatriotiques,3germinalV (2Apr.1796), 82;Bulletinolitiquee Pa-ris, 3germinalV (2Apr.1796), ; andDecadehilosophique,0florealV (9 May1796), 20. The theaterpenedtsdoorshenext ay.83. Aulard,aris endantareactionhermidorienne,eportf heBureauentralor21florealV (10May1796), :178; ndreportf heBureauentralor messidorIV (19June 796), 57.84. Inparticular,hegovernmentoncernedtself ithhe xtremistabeufndtheConspiracyfEquals.Althoughhe onspiratorsosedittleeal hreato theDirectory,hegovernmentespondedarshlyo this ttemptoestablishsocialistutopiandused he onspiracys an excuse osuppressheJacobinss well. efebvre,2:175-76;Woronoff,2. Interestingly,abeufndhis upporterslso mployedusicfor oliticalnds.Duringheirrial,he ccusedang oliticalongss a meansfdisruptionndopposition.or discussionf he rialeeMason, 87-89.



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CounterrevolutionnConcert5785. Decade hilosophique,0frimaire(10Dec. 1796), 92.86. Thepresencef omanytalianongsedto the omplainthatGarat'seper-toire idnot ncludenoughrench usic. icade hilosophique,1vent8se (11Mar.1797), 80.87. Dijeuner,3niv6se (12Jan. 797), 6-47;andPetiteosteeParis,0niv6seV (9Jan. 797),127.88. PetiteosteeParis,7germinal(16Apr.1797), 221;Miroir,1frimaire(1 Dec. 1796), 57;andDijeuner,pluvi6se (20Jan. 797), 9.Occasionallyrevieweromplainsbout ther ritics'ascinationith ashion. nesuch xamplesfoundnD'jeuner,6pluvi6se (11Feb.1797),179.89. Aulard,aris endantareactionhermidorienne,eportf heBureauentral,8frimaire(8 Dec. 1796), :614, eportf heBureauentral,0niv6se (30Dec.1796), :664; ndAffiches,nnoncest vis ivers,2frimaire(2 Dec. 1796),1127-28.Not urprisingly,uringhe arly irectoryeveral ashionournalseappearedandpopularizedew tylesfdress.eeRibeiro,ashion,hap. , esp.115-17.90. Miroir,7germinal(16Apr.1797), .91. Miroir,pluvi6se (21Jan. 797), .92. Annalesatriotiques,2frimaire(12Dec. 1797), , andCourrieres pectacles,20pluvi6se (8 Feb.1797), .93. Annalesatriotiques,2frimaire(12Dec. 1797), -4; Semainesritiques,o. 1(27Mar.1797), 1-25; ndFeuilletones pectacles,odesnnoncest vis ivers:Supplementi aQuotidienne,1germinal(31Mar.1797),1-2.94. PetiteosteeParis, 1niv6se (31Dec. 1796),10.This rticleescribedwoman ho ttendedconcert ith oth er overndherhusband.95. James . Johnson,TheFrench usicalxperienceromheOldRegimeoRomanticism"Ph.D.diss.,UniversityfChicago, 988), 02-3.96. Michelle iget,Musiquet a Revolutionranqaise:a longueur&e,ollectionubicentennairee aRevolutionfrangaise,o. 16;Laboratoirelittdraturethistoireespays e anguesuropdenes,ection 8e-19e iecles, o. 25(Besangon:niversiteeBesangon,989),111-12.

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

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