Harold James, Peter Borscheid, David Gugerli, and Tobias Straumann
- Published in print:
- 2013
- Published Online:
- April 2014
- ISBN:
- 9780199689804
- eISBN:
- 9780191769450
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199689804.003.0015
- Subject:
- Business and Management, Business History, Innovation
General director Charles Simon was to dominate the company for the following decades. Business had so far been conducted out of Zurich. In the case of the US, this became increasingly cumbersome and ...
More
General director Charles Simon was to dominate the company for the following decades. Business had so far been conducted out of Zurich. In the case of the US, this became increasingly cumbersome and ineffective. In addition, an increasing number of US states introduced new regulations for foreign companies to curtail the outflow of capital. Swiss Re had to make a choice: either to remain a small player in the US market or to set up a subsidiary. After several failed attempts, Swiss Re was able to form a joint venture with the renowned London insurer Phoenix and in 1910 founded its first overseas office in New York. The decision to set up shop in the US had also been delayed by the San Francisco earthquake which consumed nearly all of the company's reserves.Less
General director Charles Simon was to dominate the company for the following decades. Business had so far been conducted out of Zurich. In the case of the US, this became increasingly cumbersome and ineffective. In addition, an increasing number of US states introduced new regulations for foreign companies to curtail the outflow of capital. Swiss Re had to make a choice: either to remain a small player in the US market or to set up a subsidiary. After several failed attempts, Swiss Re was able to form a joint venture with the renowned London insurer Phoenix and in 1910 founded its first overseas office in New York. The decision to set up shop in the US had also been delayed by the San Francisco earthquake which consumed nearly all of the company's reserves.
Larry Wolff
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780804795777
- eISBN:
- 9780804799652
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804795777.003.0003
- Subject:
- History, European Modern History
This chapter presents the French musical comedy phenomenon of Charles-Simon Favart’s The Three Sultanas (Les Trois Sultanes) of 1761, about Sultan Suleiman the Magnificent and the favorite of his ...
More
This chapter presents the French musical comedy phenomenon of Charles-Simon Favart’s The Three Sultanas (Les Trois Sultanes) of 1761, about Sultan Suleiman the Magnificent and the favorite of his harem, Roxelana, as performed by Marie-Justine Favart. In this Parisian work the Ottoman sultan was triumphantly “civilized” by Roxelana, who was fictively imagined as a Frenchwoman in Suleiman’s harem. The work was staged and costumed in the spirit of cultural Turquerie, and was politically meaningful in relation to the court of Louis XV and the influence and precedence of his mistress Madame Pompadour. There was also a roughly concurrent opera seria libretto concerning Suleiman, titled Solimano, and first composed by Johann Adolph Hasse for Dresden in 1753. Favart’s Three Sultanas was translated, recomposed, and restaged all over Europe, including notable versions composed by Joseph Martin Kraus for Stockholm in 1789, and by Franz Xaver Süssmayr for Vienna in 1799.Less
This chapter presents the French musical comedy phenomenon of Charles-Simon Favart’s The Three Sultanas (Les Trois Sultanes) of 1761, about Sultan Suleiman the Magnificent and the favorite of his harem, Roxelana, as performed by Marie-Justine Favart. In this Parisian work the Ottoman sultan was triumphantly “civilized” by Roxelana, who was fictively imagined as a Frenchwoman in Suleiman’s harem. The work was staged and costumed in the spirit of cultural Turquerie, and was politically meaningful in relation to the court of Louis XV and the influence and precedence of his mistress Madame Pompadour. There was also a roughly concurrent opera seria libretto concerning Suleiman, titled Solimano, and first composed by Johann Adolph Hasse for Dresden in 1753. Favart’s Three Sultanas was translated, recomposed, and restaged all over Europe, including notable versions composed by Joseph Martin Kraus for Stockholm in 1789, and by Franz Xaver Süssmayr for Vienna in 1799.
Thomas Christensen
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9780226626925
- eISBN:
- 9780226627083
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226627083.003.0007
- Subject:
- Music, History, Western
In Chapter 6, we will revisit some of Fétis’s theoretical arguments and subject them to closer scrutiny. In particular, we will examine Fétis’s criticisms of his theoretical predecessors and ...
More
In Chapter 6, we will revisit some of Fétis’s theoretical arguments and subject them to closer scrutiny. In particular, we will examine Fétis’s criticisms of his theoretical predecessors and understand why he felt their many attempts to find a scientific basis for the theory and practice of music inevitably failed. Fetis was particularly critical of Rameau, whose music theory was perhaps the single most ambitious attempt to naturalize tonal harmony. If Fétis concluded that Rameau’s efforts (not to mention those of almost all of his theoretical successors) to ground tonality in natural laws of empirical science were ultimately chimerical, other investigators were not willing to give up the dream so easily. Many of them continued in their efforts to find a scientific basis for tonal music. This is a rich and extensive literature that is little known today, overshadowed as it is by so much German theorizing. But this literature, too, as we will see, was itself in almost constant dialogue and contestation with Fétis’s influential work.Less
In Chapter 6, we will revisit some of Fétis’s theoretical arguments and subject them to closer scrutiny. In particular, we will examine Fétis’s criticisms of his theoretical predecessors and understand why he felt their many attempts to find a scientific basis for the theory and practice of music inevitably failed. Fetis was particularly critical of Rameau, whose music theory was perhaps the single most ambitious attempt to naturalize tonal harmony. If Fétis concluded that Rameau’s efforts (not to mention those of almost all of his theoretical successors) to ground tonality in natural laws of empirical science were ultimately chimerical, other investigators were not willing to give up the dream so easily. Many of them continued in their efforts to find a scientific basis for tonal music. This is a rich and extensive literature that is little known today, overshadowed as it is by so much German theorizing. But this literature, too, as we will see, was itself in almost constant dialogue and contestation with Fétis’s influential work.
