On Ascending Cadence Gestures in Adolphe Adam's Le Châlet (1834)

Abstract

Adolphe Adam’s one-act opéra comique Le Châlet (1834) is a milestone in the history of rising cadence gestures and, as such (combined with its popularity), may have been a primary influence on other composers as rising cadence gestures proliferated in opera bouffe and both French and Viennese operetta later in the century, and eventually in the American musical during the twentieth century.