This far-reaching selection of heretofore unpublished stories ushers within the two-hundredth anniversary of the delivery of Hector Berlioz (1803-1869). The members contain top song historians and sought after historians of tradition, Peter homosexual and Jacques Barzun. The essays talk about Berlioz's perspectives of the tune of the "past," Berlioz's interactions with tune and musicians of his "present," and perspectives of Berlioz through the numerous generations after his dying (the "future"). A long-awaited piece by means of Richard Macnutt meticulously inventories and investigates greater than 2 hundred letters and files which are referred to now to were cast yet that experience occasionally been authorized as real. extra contributions, from David Charlton, Heather Hadlock, Sylvia L'Ecuyer, Katherine Kolb, Catherine Massip, Kerry Murphy, Jean-Michel Nectoux, Cecile Reynaud, and Lesley Wright, think of particular points of Berlioz's inventive paintings and significant reception. The editor, Peter Bloom, is Grace Jarcho Ross 1933 Professor of Humanities within the division of tune at Smith university. His scholarly paintings has targeted totally on the existence and paintings of Berlioz. he's a member of the Panel of Advisors of the hot Berlioz version and the writer of The lifetime of Berlioz.
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Extra info for Berlioz: Past, Present, Future (Eastman Studies in Music)
One of these untouchable topics was the way the Prix de Rome was awarded. Having won both a second and a first prize at the Institut, he felt qualified to speak out. Envy could not possibly be a motive for his denunciation. “One must conclude” from reading his competitors, he wrote, “that there is no way of approaching this sacred subject. Yet I do approach it, and will moreover treat it as I would a profane subject” (130). It turned out to be profane in more ways than one. This declaration bears significant resemblances to the eighteenth-century Enlightenment, and even to the seventeenth century.
We all remember how he fell in love with Harriet Smithson— at first sight, the only way, according to seventeenth-century playwrights, of true love. It would be unjust to Berlioz, I think, to attribute the urgency, the unreflectedness, of his infatuation to his reading of Shakespeare, as though he wanted to turn literature into life. But Shakespeare would have understood Berlioz’s instantaneous conversion into a lover. No wonder that Rouget de Lisle, author of the Marseillaise, told Berlioz: “Your head seems to be a volcano steadily in eruption” (158).
15 Of the French School: Lully and Rameau Berlioz’s comments on Lully are rare and rather negative. 16 As one of the pioneers of comparative studies, Berlioz here takes Alceste for the subject of his analysis, treating it from the dramatic vision of Euripides through that of Quinault and on to that of Gluck. Along the way he considers the works by Handel (as we have seen), Anton Schweitzer, and Pietro Guglielmi. For Lully, Berlioz must have been working with score in hand, for he mentions having heard in concert only the scene in Act IV, when Charon sings of the inevitability of death.