The Music of Berlioz

This is the first full-length musical study of Berlioz to take into account the rediscovered Messe solennelle. Julian Rushton discusses all aspects of his work, without undue emphasis on a few more popular pieces.

The Music of Berlioz

This is the first full-length musical study of Berlioz to take into account the rediscovered Messe solennelle. Julian Rushton discusses all aspects of his work, without undue emphasis on a few more popular pieces. The first section consists of a comprehensive biography of Berlioz's musical works, tracing shifting patterns of productivity, approaches to genre, and the contrast between works which are aesthetically progressive or retrospective. The author then considers aspects of Berlioz's musical style, building upon earlier studies by the author and other recent scholarship. The final section offers a more substantial analysis of selected passages and an overall critical assessment.

Form Program and Metaphor in the Music of Berlioz

This book examines how Berlioz used musical forms to represent a narrative, and to depict emotions such as madness or love.

Form  Program  and Metaphor in the Music of Berlioz

This book examines how Berlioz used musical forms to represent a narrative, and to depict emotions such as madness or love.

Berlioz on Music

The volume also presents explanatory data in engagingly composed introductions and footnotes, which elucidate Berlioz's references to persons, musical and literary works, historical events, and more.

Berlioz on Music

As a composer, Hector Berlioz embodied his century as the quintessential Romantic artist. Niccolo Paganini called him "Beethoven's only heir," and for a young Richard Wagner, he was dazzling as a composer, orchestra conductor, and critic. But Berlioz was known as much for his writings as for his music, and for decades Berlioz scholars have stressed the need for a good English-language anthology of his criticism. Featuring new translations and commentary by Katherine Kolb and Samuel N. Rosenberg,Berlioz on Music: Selected Criticism 1824-1837 is that volume. Berlioz's centrality as a critic results from his literary brilliance, his location in Paris -- the music capital of the nineteenth century -- and his 28-year tenure at the powerfulJournal des debats. As one of its founding editors and principal writers, Berlioz contributed about 250 articles to the publication.Berlioz on Music comprises articles from the first 14 years of Berlioz's public writings, given in chronological order and, with few exceptions, in their entirety. Following chronology affords an overview of Berlioz's evolution as critic and of a key phase in the development of modern musical culture. The volume also presents explanatory data in engagingly composed introductions and footnotes, which elucidate Berlioz's references to persons, musical and literary works, historical events, and more. The reader is allowed to follow musical events during one of the richest periods in French cultural history, including the revolutionary decade surrounding 1830, a year marked by Victor Hugo's victory for the Romantics in the Classical bastion of the Théâtre-Français, by the premiere of Berlioz's Fantastic Symphony, and by the toppling of the Restoration monarchy. The result is an engaging collection of Berlioz's lively prose, presented with scholarly rigor and rendered in accessible English. Music historians, both professional and amateur, as well 19th century European history enthusiasts will findBerlioz on Music a compelling introduction to one of the richest periods of French culture.

The Music of Berlioz

The Music of Berlioz


The Musical Madhouse

This is the first complete translation into English of Berlioz's second collection of musical articles, originally published in 1859.

The Musical Madhouse

This is the first complete translation into English of Berlioz's second collection of musical articles, originally published in 1859. The work is a uniquely Berliozian combination of light-hearted journalism and serious musical comment and analysis.

The Memoirs of Hector Berlioz

Translator and editor David Cairns has completely revised the text of this memoir of Hector Berlioz.

The Memoirs of Hector Berlioz

Translator and editor David Cairns has completely revised the text of this memoir of Hector Berlioz. The extensive notes that accompany the text have been updated to reflect the results of recent research

A Musical Crusade

This is due in part to many misconceptions surrounding Berlioz's vocal compositional style, which stem from the political atmosphere at the time of the opera's premiere in 1838 Paris when ill-willed critics renamed it Malvenuto Cellini.

A Musical Crusade

Abstract Much of the operatic music of the eccentric French composer Hector Berlioz (1803-1869) is overlooked, especially from his first full opera Benvenuto Cellini. This is due in part to many misconceptions surrounding Berlioz's vocal compositional style, which stem from the political atmosphere at the time of the opera's premiere in 1838 Paris when ill-willed critics renamed it Malvenuto Cellini. A general ignorance of this work and its music pervades the world of vocal pedagogy, having been excluded from the standard repertoire anthologies, where it can ironically be the most useful. The research presented in this project comprises original data from pedagogical and aesthetical surveys, as well as analytical comparisons of numerous arias and scenes. The pedagogical surveys demonstrate that the work is mostly discounted or unknown among nationally respected pedagogues, who almost never assign any of these arias or scenes to their students. Yet, the aesthetical surveys show an appreciation of the music from an unbiased populous. Additionally, a study of the international production history of this opera, including cost and revenue statistics, supports the perpetuated trend of undeserved negativity towards Benvenuto Cellini when these supposed deterrents do not inhibit productions of other highly expensive or lesser-known operas. A microcosmic analysis of audition data furthers the idea that the world of vocal pedagogy is married to a canon of arias, which leaves little room for repertoire diversity or experimentation for voice students and creates an educational gap in their lack of exposure to this music. As pedagogical tools, respected voice professors almost universally use specific styles of arias and scenes from different eras and cultures to teach their students technical, musical, and dramatic stage concepts. In the case of nineteenth-century French Romanticism, the diverse music from Benvenuto Cellini fulfills these needs and also incorporates Italianate influences, while simultaneously serving as a reference point for succeeding Germanic declamatory style. It encapsulates Romantic thought and factors into the plethora of works that feature the life of Renaissance Mannerist sculptor, Benvenuto Cellini (1500-1571). Comparative analyses of arias and scenes from Berlioz's opera to the works of other composers included in the standard repertory, such as Mozart, Rossini, Meyerbeer, Donizetti, and Verdi, elucidate the equivalent quality and invaluable importance of this music.

Experiencing Berlioz

Experiencing Berlioz: A Listener’s Companion is an in-depth entrée into the sound world of Hector Berlioz, recognized today as one of the most profoundly original and engaging composers in 19th-century Europe.

Experiencing Berlioz

Experiencing Berlioz: A Listener’s Companion is an in-depth entrée into the sound world of Hector Berlioz, recognized today as one of the most profoundly original and engaging composers in 19th-century Europe. Melinda O’Neal offers the non-specialist a pathway into the underlying allure of Berlioz's music. His views on rehearsing and conducting, bumpy career ride and failures, the journey of a work through revisions and editions, and historical performance practices provide a backdrop to discussions of his most significant works. As O’Neal addresses the motivation and conception, sonic atmosphere, and compositional strategies of key works, she provides a new multifaceted experience not only to music historians and performers but also to any amateur music lover who has ever been entranced by Berlioz’s undeniable musical veracity. As the listener interacts with Berlioz's music, the ear's curiosity and imagination will take flight.

Evenings with the Orchestra

In this delightful and now classic narrative, written by the brilliant composer and critic Hector Berlioz, readers are made privy to 25 highly entertaining evenings with a fascinating group of distracted performers.

Evenings with the Orchestra

In this delightful and now classic narrative, written by the brilliant composer and critic Hector Berlioz, readers are made privy to 25 highly entertaining evenings with a fascinating group of distracted performers.

Symphonie Fantastique

inch....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken inch. (Oliver James,Contact Magazine) A novel and comprehensive approach to transferring from ...

Symphonie Fantastique

inch....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken inch. (Oliver James,Contact Magazine) A novel and comprehensive approach to transferring from the C to F instrument. 430 music examples include folk and national songs (some in two parts), country dance tunes and excerpts from the standard treble repertoire of•Bach, Barsanti, Corelli, Handel, Telemann, etc. An outstanding feature of the book has proved to be Brian Bonsor's brilliantly simple but highly effective practice circles and recognition squares designed to give, in only a few minutes, concentrated practice on the more usual leaps to and from each new note and instant recognition of random notes. Quickly emulating the outstanding success of the descant tutors, these books are very popular even with those who normally use tutors other than the Enjoy the Recorder series.

The Musical Language of Berlioz

This book is an analytical and critical study of Berlioz's unique musical style.

The Musical Language of Berlioz

This book is an analytical and critical study of Berlioz's unique musical style. It does not undertake to analyse all his works, but rather to separate characteristic elements and observe them in action. Berlioz's writings and those of his critics are called upon to help focus the discussion. Part I includes material on the sources of Berlioz's idiosyncrasy and a discussion of fundamental pitch elements. Part II pursues this discussion into textural, contrapuntal and orchestral features, and considers melody and rhythm. Part III deals with whole musical forms, vocal and instrumental. The book includes copious musical illustration, much of it analytical reduction, and the expressive purpose of the features analysed is fully considered. The conclusion is that Berlioz's musical language is inescapably peculiar, though not necessarily inept; features which seem inexplicable in the light of compositional theory nearly always contribute to the musical and expressive exactness of communication.

Discovering Classical Music Berlioz

"I recommend this book wholeheartedly to new music lovers" Sir Charles Groves CBE Thanks to Nigel Kennedy and Pavarotti, millions of people have recently discovered that classical music is a highly enjoyable experience, perhaps contrary to ...

Discovering Classical Music  Berlioz

"I recommend this book wholeheartedly to new music lovers" Sir Charles Groves CBE Thanks to Nigel Kennedy and Pavarotti, millions of people have recently discovered that classical music is a highly enjoyable experience, perhaps contrary to their expectations. But the world of classical music can be highly intimidating and confusing. Ian Christians, for many years a passionate believer in broadening the interest in classical music, has developed a unique approach, designed to make it as easy as possible for both newcomers to classical music and those who have started down the path to explore with confidence. Discovering Classical Music concentrates on the greatest composers. The author takes you step-by-step into their most approachable music and, in some cases, boldly into some of the greatest works traditionally considered too difficult for newcomers. Rarely does a book offer such potential for continued enjoyment.This volume concentrates on the life, personality and music of Louis-Hector Berlioz.

Symphonie fantastique and Harold in Italy

This Dover edition presents two of the greatest of these "program" pieces: the "Symphonie Fantastique" (1830) and "Harold in Italy" (1834).

Symphonie fantastique   and  Harold in Italy

Hector Berlioz (1803 1869), considered the father of modern orchestration, possessed an intuitive musical genius all the more remarkable for his limited formal musical education. A brilliant colorist, a master of the unexpected rhythmic break, he brought a new symphonic richness to Romantic music. Both damned and venerated by his contemporaries Mendelssohn considered him devoid of talent, Paganini declared him the one true heir to the spirit of Beethoven Berlioz seems to have sought in music a way to soothe and give voice to the turbulent psychological instabilities and contradictions of what has come to be called "program music" i.e., instrumental music with an extramusical significance. He strove to communicate musically the experiences, psychological themes, scenic description, and literary allusions more commonly associated with the confessional writings of Romantic poets. This Dover edition presents two of the greatest of these "program" pieces: the "Symphonie Fantastique" (1830) and "Harold in Italy" (1834). Here are the full scores of both major symphonic works painstakingly reproduced from the authoritative Breitkopf & Hartel edition, available for the first time in one convenient volume plus Berlioz's "program" for the "Symphonie Fantastique." Musicians and music lovers everywhere will value this high-quality, inexpensive edition ideal for study and performance."

Berlioz s Orchestration Treatise

This is a book by and about Berlioz, since it provides not only a new translation but also an extensive commentary on his text, dealing with the instruments of Berlioz's time and comparing his instruction with his practice.

Berlioz s Orchestration Treatise

Berlioz's Orchestration Treatise (1843) is a classic textbook by a master of the orchestra, which has not been available in English translation for over a century. This is a book by and about Berlioz, since it provides not only a new translation but also an extensive commentary on his text, dealing with the instruments of Berlioz's time and comparing his instruction with his practice. It is thus a study of the high craft of the most distinctive orchestrator of the nineteenth century.

Berlioz

New studies of the great French composer by Jacques Barzun, David Cairns, JoAl-Marie Fauquet, Hugh Macdonald, Julian Rushton, and other prominent experts.

Berlioz

New studies of the great French composer by Jacques Barzun, David Cairns, JoAl-Marie Fauquet, Hugh Macdonald, Julian Rushton, and other prominent experts.

A Critical Study of Beethoven s Nine Symphonies with a Few Words on His Trios and Sonatas a Criticism of Fidelio and an Introductory Essay on Music

This compact volume gathers brief, pithy essays Berlioz wrote on Beethoven's nine symphonies, his opera, Fidelio, and his piano sonatas and trios.

A Critical Study of Beethoven s Nine Symphonies with a Few Words on His Trios and Sonatas  a Criticism of Fidelio  and an Introductory Essay on Music

A daring composer in his own right, Hector Berlioz made a considerable reputation and a modest living for himself writing about music. This compact volume gathers brief, pithy essays Berlioz wrote on Beethoven's nine symphonies, his opera, Fidelio, and his piano sonatas and trios. Berlioz vividly depicts the salient features of the music with observations that are acute and passionate, as valuable for musicians as for amateurs. Beyond its astute commentary on the music, however, Berlioz's book offers a rare firsthand look at the reception and reputation accorded Beethoven's music in the decades following his death. Berlioz transcribes the comments of amateurs leaving the conservatoire after a performance of Beethoven's Ninth Symphony and provides a mocking glimpse of the French appreciation of the great German composer: What stands in the way of the music of 'Fidelio' as regards the Parisian public is ... the great disdain of the composer for sonorous effects which are not justified. He addresses Beethoven's skillful use of the orchestra as an instrument of drama and the general disapprobation that greeted this approach. He also includes a satirical piece on the fad of calling up the spirit of a composer and transcribing new, posthumous compositions. Berlioz's essays testify to the tumult caused by Beethoven's music in his time and offer ways to approach the music that remain enlightening and fresh.