Paris je t'aime!
In 1777, Joseph Haydn's Symphony No. 56 was published in Paris - and hit like a bomb. The composer, violinist and conductor of the orchestra of the lodge "de la Parfaite Estime et Societe Olympique", Joseph Bologne de Saint-Georges, contacts Haydn and then conducts the world premieres of Haydn's acclaimed Paris symphonies. Benjamin Godard and Charles Gounod are representative of the unique density of outstanding musical personalities that consolidates the status of Paris as the centre of international musical life from the mid-19th century onwards. In the 20th century, it was Francis Poulenc who, as an outstanding figure in Parisian musical life, shaped the interwar period until the end of the 50s and moved effortlessly between tradition and a break in style in his magnificent operas and timeless church music: charming vulgarity seemed more important to him than the pathos of Romanticism. The latter can hardly be blamed on the weightless-sensual flute miniatures of the two Parisian romantics Godard and Gounod. Elegance, virtuosity and fine humour form a subtle bow to an instrument that stands like no other for the airy-virtuoso sound of French music - and Aristotle has already correctly stated: "The flute has no good influence on morality; it's too provocative.'' Eh voila1
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