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Jean-François Le Sueur

A musical practitioner prior to the Trend, during the Trend and following the Recovery, Le Sueuer was mostly of the musicians in a position to survive this tumultuous amount of time in France. Although he had not been a prolific composer, his functions and influence continuing, nevertheless meagerly, through his learners including Berlioz, Gounod and Ambroise Thomas. The functions which Le Suere do write consisted mainly of operas and sacred efforts. Initially he offered being a choirmaster at Notre Dame in Paris but through the Trend considered the stage in operatic configurations. The initial opera which he constructed was “Telemaque” though it had been not really performed until 1796. “La caverne,” and “Paul et Virginie” had been constructed in 1793 and ’94 respectively and had been quite effective. His ideal operatic function was “Ossian ou Les bardes” that was not really praised due to the tastes of that time period but also due to the meritorious quality of the task. Today “Ossian” seems conventional at greatest however the choruses in the body from the opera excell. “La mort d’Adam” was an opera that could have already been better offered as an oratorio due to its lack of creativity and motion. The section reflecting the curse of Cain, nevertheless, shows Le Sueur’s prospect of color and finesse as the music apparently depicts the feelings in the occasions as informed in the biblical narrative. To be certain, this was one of is own goals and theoretical emphases. Le Suere could combine the part of severe opera, comic opera and opera buffa in “La caverne” through a solid dramatic personality. Historically, nevertheless, Le Sueur’s main contribution to music was the tome “Expose d’une musique” that was a demo of his apt succession to Rousseau, intellectual acuity, and the area of musical structure as an imitator of character and human feelings. The music cannot evoke the thing itself but instead could inspire feelings in the listener regarding the particular phenomena. Music, relating to Le Sueur, cannot become divorced from the written text. He didn’t conclude, nevertheless, that the written text could possibly be metaphysical or abstract; appropriately, Le Sueur managed a penchant for vocal music, rather than, instrumental music.

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