THE MYSTERY OF THE SURNAME: One proof of the limited interest in Paër is the fact that only now has the mystery of his surname been clarified. Alongside the spelling as “Paër”, in fact, numerous other variants existed: Par, Pàr, Pär, Per, Pér, Për, Paer, and even versions in which the initial P was substituted by B. We know now that the family name, of Austrian origins, was probably “Bär”, and that it was transformed to “Pär” at Parma (where Ferdinando’s grandfather moved to in the first half of the eighteenth century), owing to a misunderstanding. This uncertainty ended only with the composer’s arrival in Paris, where his surname was changed into the form that we still use today: “Paër”. THE PERFORMANCES IN ITALY: The available data on Paër’s professional fortunes in Italy testifies to a rapid growth in his first decade of activity (1791-1800), which is then maintained at a high level in the second and rises further in the third, before finally descending rapidly in the fourth and almost disappearing in the fifth. The most successful works were those of the “semiserio” genre: L’Agnese, Griselda and Camilla, in particular. The sole exception was Il maestro di cappella (Le maître de chapelle), which arrived in Italy only at the end of the nineteenth century and which signalled Paër’s unexpected although brief return to fame.

Ferdinando in Italia: da Pär a Paër / Capra, Marco. - STAMPA. - (2008), pp. 7-24. (Intervento presentato al convegno Ferdinando Paer tra Parma e l'Europa tenutosi a Parma nel 28-30 settembre 2006).

Ferdinando in Italia: da Pär a Paër

CAPRA, Marco
2008-01-01

Abstract

THE MYSTERY OF THE SURNAME: One proof of the limited interest in Paër is the fact that only now has the mystery of his surname been clarified. Alongside the spelling as “Paër”, in fact, numerous other variants existed: Par, Pàr, Pär, Per, Pér, Për, Paer, and even versions in which the initial P was substituted by B. We know now that the family name, of Austrian origins, was probably “Bär”, and that it was transformed to “Pär” at Parma (where Ferdinando’s grandfather moved to in the first half of the eighteenth century), owing to a misunderstanding. This uncertainty ended only with the composer’s arrival in Paris, where his surname was changed into the form that we still use today: “Paër”. THE PERFORMANCES IN ITALY: The available data on Paër’s professional fortunes in Italy testifies to a rapid growth in his first decade of activity (1791-1800), which is then maintained at a high level in the second and rises further in the third, before finally descending rapidly in the fourth and almost disappearing in the fifth. The most successful works were those of the “semiserio” genre: L’Agnese, Griselda and Camilla, in particular. The sole exception was Il maestro di cappella (Le maître de chapelle), which arrived in Italy only at the end of the nineteenth century and which signalled Paër’s unexpected although brief return to fame.
2008
9788831796064
Ferdinando in Italia: da Pär a Paër / Capra, Marco. - STAMPA. - (2008), pp. 7-24. (Intervento presentato al convegno Ferdinando Paer tra Parma e l'Europa tenutosi a Parma nel 28-30 settembre 2006).
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11381/2289621
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