Description

A rapid survey of the history of the “Prix de Rome cantata” (1803-1914) from the standpoint of its most striking experiments challenges the simplistic equation “Academicism + Official Art = Reactionary Music”. Quite the reverse, in fact, as the “restrictions” recommended by the cantata were merely intended to protect and encourage a style which identified with (but was not limited by) a period which had seen the ubiquitous appearance of nationalism. The unlucky candidates were in fact criticised less for being too "modern" than for not being “French” enough.