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Journal articles on the topic 'Berlioz'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Mello, Celina Maria Moreira de. "As Memórias (1865), de Hector Berlioz: legitimação e rasura de um autor / The Memoirs (1865), by Hector Berlioz: Legitimation and Erasure of an Author." Caligrama: Revista de Estudos Românicos 24, no. 3 (December 18, 2019): 177. http://dx.doi.org/10.17851/2238-3824.24.3.177-192.

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Resumo: O presente artigo tem como objetivo propor uma releitura das Memórias (1865) de Berlioz, desenvolvendo a hipótese de um ethos autoral rasurado. Será revisitado o conceito de ethos e sua funcionalidade na interpretação do discurso literário (MAINGUENEAU, 2004), desnaturalizado e visto como um constructo cultural. A interrogação voltada para a autobiografia de Berlioz demandou, para além da Análise do Discurso, o recurso a métodos de leitura provenientes de abordagens oferecidas pela história da edição e as teorias do campo literário (BOURDIEU, 1992). Nas Memórias de Berlioz combinam-se

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2

Kolb, Katherine. "Flying Leaves: Between Berlioz and Wagner." 19th-Century Music 33, no. 1 (2009): 25–61. http://dx.doi.org/10.1525/ncm.2009.33.1.025.

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Abstract This article analyzes the writings of Berlioz on Wagner and, to a lesser extent, of Wagner on Berlioz, emphasizing the covert innuendoes of their verbal sparring during the period surrounding the Tannhääuser debacle at the Paris Opééra (1860) and Berlioz's tribulations with Les Troyens (ca. 1853––63). Because Berlioz's style and subtlety have worked against him in this famous rivalry, the priority goes to him, and especially to his magnum opus as critic, the volume A travers chants (1862). A selection from thirty years of music criticism both serious and light ("flying leaves"), A tra

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3

Cormac, Joanne. "Between Beethoven and Mendelssohn: Biographical Constructions of Berlioz in the London Press." 19th-Century Music 44, no. 2 (2020): 80–99. http://dx.doi.org/10.1525/ncm.2020.44.2.80.

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In 1853 a writer for the London-based periodical Fraser's Magazine remarked that Berlioz's “heroic temperament” could be “read legibly in the noble style of his compositions. His own life forms to these works the most interesting accompaniment and commentary.” The linking of life and work in Berlioz's case is nothing unusual. However, a particular set of circumstances unique to London meant that critics based in that city persistently used Berlioz's biography to further their own agendas while also promoting his music. In this article, I argue that, when writing about Berlioz's London performa

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4

Anderson, Robert, Donna Brown, Jean-Luc Viala, Gilles Cachemaille, Monteverdi Choir, Orchestre Revolutionnaire et Romantique, John Eliot Gardiner, Rosalind Plowright, Philharmonia Orchestra, and Jean-Philippe Rouchon. "Berlioz." Musical Times 135, no. 1820 (October 1994): 649. http://dx.doi.org/10.2307/1003140.

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5

Rushton, Julian. "Berlioz." Nineteenth-Century Music Review 2, no. 2 (November 2005): 204–6. http://dx.doi.org/10.1017/s1479409800002366.

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6

Rushton, Julian. "Berlioz." Nineteenth-Century Music Review 5, no. 1 (June 2008): 135–37. http://dx.doi.org/10.1017/s1479409800002676.

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7

Schumann, Bianca. ""... so merkt man ihr allerdings den achtzehnjährigen, unbeholfenen Komponisten an..."." Die Musikforschung 73, no. 4 (September 22, 2021): 355–67. http://dx.doi.org/10.52412/mf.2020.h4.4.

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In the course of the aesthetic controversy of the 19th century over programme music, which was particularly intense in Vienna, 'conservative' as well as 'progressive' ciritcs, who wrote for the daily press, endeavoured to appropriate Hector Berlioz for their personal aesthetic convictions. Even for reviews written in the 1860s and 1870s, when Berlioz's large-scale works were first performed by leading Viennese orchestras, Robert Schumann's review of the Symphonie fantastique (1835) played a significant role. Schumann's appreciative assessment of the symphony, which was strongly influenced by h

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8

Kawabata, Maiko. "The Concerto that Wasn't: Paganini, Urhan and Harold in Italy." Nineteenth-Century Music Review 1, no. 1 (June 2004): 67–114. http://dx.doi.org/10.1017/s1479409800001889.

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It was Paganini's request for a concerto that prompted Berlioz to embark on the composition that eventually became Harold in Italy. The legendary virtuoso, then at the height of his fame, had recently acquired a fine Stradivari viola and needed a suitable vehicle for introducing the instrument to the public. He was puzzled and disappointed by Berlioz's score. It certainly was not the anticipated virtuoso vehicle, and within months Paganini had composed a substitute for himself, the Sonata per la grand viola. Berlioz explained that his work was ‘a new kind of symphony and not a composition writ

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9

Rodgers, Stephen. "Miniatures of a Monumentalist: Berlioz's Romances, 1842–1850." Nineteenth-Century Music Review 10, no. 1 (June 2013): 119–49. http://dx.doi.org/10.1017/s1479409813000062.

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This article reassesses Berlioz's complex relationship to the French romance. Berlioz is often regarded as a musical revolutionary who made his mark writing massive, path-breaking symphonies – a far cry from the popular songs that became a staple of the bourgeois woman's salon. Yet he wrote romances throughout his life. How are we to understand these songs in the context of his overall output? What did the genre mean to him? How do his romances relate to the larger works on which his reputation rests? I explore these questions in relation to the romances he composed or revised between 1842 and

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10

Van Rij, Inge. ""There is no anachronism": Indian Dancing Girls in Ancient Carthage in Berlioz's Les Troyens." 19th-Century Music 33, no. 1 (2009): 3–24. http://dx.doi.org/10.1525/ncm.2009.33.1.003.

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Abstract Relatively early in the composition of Les Troyens Berlioz declared his intention to include a "pas d'alméées with the music and dancing exactly like the Bayadèères' ballet which I saw here sixteen or seventeen years ago." Despite Berlioz's claim that he had "gone into it" and "there is no anachronism," historical evidence would suggest that the presence of Indian dancing girls in Dido's Carthage is actually highly inauthentic and anachronistic. Indeed, Berlioz's immediate inspiration for the ballet in question was not ancient history but, rather, a group of Indian dancers and musicia

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11

Citron, Pierre, and Peter Bloom. "Berlioz Studies." Revue de musicologie 79, no. 2 (1993): 391. http://dx.doi.org/10.2307/946907.

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12

Fauquet, Joël-Marie, l'Association nationale Hector Berlioz, and Joel-Marie Fauquet. "Cahiers Berlioz." Revue de musicologie 78, no. 2 (1992): 340. http://dx.doi.org/10.2307/946996.

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13

de Oliveira, Olivia Wahnon, and Peter Bloom. "Berlioz Studies." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 51 (1997): 207. http://dx.doi.org/10.2307/3687194.

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14

Rushton, Julian, Hugh Macdonald, Hector Berlioz, and David Charlton. "Newish Berlioz." Musical Times 140, no. 1866 (1999): 50. http://dx.doi.org/10.2307/1193489.

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15

Holoman, D. Kern. "Berlioz, Lately." 19th-Century Music 25, no. 2-3 (November 2001): 337–46. http://dx.doi.org/10.1525/ncm.2001.25.2-3.337.

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16

Watt, Paul. "Ernest Newman's Draft of a Berlioz Biography (1899) and its Appropriation of Emile Hennequin's Style Theory." Nineteenth-Century Music Review 10, no. 1 (June 2013): 151–68. http://dx.doi.org/10.1017/s1479409813000074.

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Ernest Newman (1868–1959) first proposed a biography of Berlioz in the 1890s. A schedule for its research and writing was hatched, an agreement was made with a publisher for its manufacture, and Newman promptly set to work on the project. Alas, like so many other book projects Newman commenced in the 1890s, the Berlioz biography was never completed. Even though sketches or drafts of the book do not survive, there is plenty of evidence of the methodology and structure that Newman proposed for the book, for a work-in-progress article, ‘The prose of Berlioz,’ was published in the Chord in June 18

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17

KREGOR, JONATHAN. "Collaboration and Content in the Symphonie fantastique Transcription." Journal of Musicology 24, no. 2 (2007): 195–236. http://dx.doi.org/10.1525/jm.2007.24.2.195.

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Franz Liszt's transcription of Hector Berlioz's Symphonie fantastique has long been recognized for its innovative approach to musical reproduction——that is, its remarkable ability to recreate the sonic nuances of its model. However, the 1830s were a period of intense artistic and professional collaboration with Berlioz, and the genesis of the Symphonie fantastique transcription can thus also be interpreted as emblematic of this developing relationship. In particular, a gestural analysis of the work's content, as it can be recreated in part through Liszt's meticulous performance notation, indic

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18

VAN RIJ, INGE. "Back to (the music of) the future: Aesthetics of technology in Berlioz's Euphonia and Damnation de Faust." Cambridge Opera Journal 22, no. 3 (November 2010): 257–300. http://dx.doi.org/10.1017/s0954586711000255.

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AbstractIn his final years, Berlioz's name became entangled in debates around Wagnerian ‘music of the future’; but Berlioz was also engaged with conceptions of the future in a much more literal sense throughout his life. An examination of texts such as Euphonia which treat futuristic settings helps us to identify three main technological tropes by which the future is characterised in Berlioz's writings: the industrialisation of space and time; the discourse of gender; and fears around agency. Applying these tropes to the contemporaneous La damnation de Faust enables a new reading of genre in B

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19

Petrova, Galina, and Lucinde Braun. "Berlioz und Russland - neue Ansätze, neue Quellen." Die Musikforschung 69, no. 3 (September 22, 2021): 209–30. http://dx.doi.org/10.52412/mf.2016.h3.384.

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Das Thema "Berlioz und Russland" ist verschiedentlich dargestellt worden, jedoch wurde bislang die vor allem auf Berlioz' eigener Schilderung beruhende Faktenlage kaum erweitert, und bestimmte Elemente eines bis ins 19. Jahrhundert zurückreichenden Diskurses wurden unreflektiert weitergeschrieben. Deshalb wird an zwei Beispielen - der Widmungsgeschichte der "Symphonie fantastique" und den persönlichen Netzwerken, die Berlioz mit Russland verbanden - gezeigt, wie wenig erschlossen zahlreiche Aspekte der Thematik noch immer sind.

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20

Bloom, Peter. "Berlioz and Liszt ”in the Locker Room“." Studia Musicologica 54, no. 1 (March 1, 2013): 75–86. http://dx.doi.org/10.1556/smus.54.2013.1.6.

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The closest of friends in the early eighteen-thirties, Berlioz and Liszt shared artistic aspirations (especially around the latter’s reworkings of the former’s Symphonie fantastique and its sequel, Le Retour à la vie) and personal adventures (especially around the former’s irrational passion for the Irish actress Harriet Smithson and the latter’s efforts at counsel and consolation). These matters are discussed in the context of Berlioz’s private (and I believe insensitive) announcement, in a letter to Liszt sent four days after the marriage, that his new wife had been a virgin.

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21

Eckhardt, Mária. "Berlioz' Ungarnbesuch 1846." Studia Musicologica Academiae Scientiarum Hungaricae 46, no. 1 (May 1, 2005): 157–74. http://dx.doi.org/10.1556/smus.46.2005.1-2.11.

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22

Bloom, Peter. "Virtuosités de Berlioz." Romantisme 35, no. 128 (2005): 71–93. http://dx.doi.org/10.3406/roman.2005.6600.

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23

Didier, Béatrice. "Berlioz et Faust." Revue d'histoire littéraire de la France 104, no. 3 (2004): 561. http://dx.doi.org/10.3917/rhlf.043.0561.

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24

Bloom, Peter. "Virtuosités de Berlioz." Romantisme 128, no. 2 (2005): 71. http://dx.doi.org/10.3917/rom.128.0071.

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25

Law, J. K. "A Berlioz Bibliography." Opera Quarterly 19, no. 3 (July 1, 2003): 490–94. http://dx.doi.org/10.1093/oq/19.3.490.

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26

Bloom, Peter. "Review: Berlioz Remembered." Music and Letters 83, no. 2 (May 1, 2002): 300–305. http://dx.doi.org/10.1093/ml/83.2.300-b.

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27

Schmidt, Wolf Gerhard. ""verruchte Theorie" einer musikalischen "Gottheit"." Die Musikforschung 56, no. 3 (September 22, 2021): 231–49. http://dx.doi.org/10.52412/mf.2003.h3.719.

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Im 19. Jahrhundert waren es vor allem zwei Komponisten, die sich intensiv mit Christoph Willibald Glucks Opernreform auseinander setzten: Hector Berlioz und Richard Wagner. Während dem einen die Reform - zumindest in der Theorie - schon zu weit ging, war sie dem anderen noch nicht progressiv genug. Berlioz' Urteil über Gluck erweist sich jedoch als vielschichtig. Neben Lobreden auf den "Gott des Ausdrucks" stehen kritische Bemerkungen zu dessen "verruchter Theorie", als deren legitime, wenngleich negative Umsetzung Wagners Gesamtkunstwerk erscheint. Dabei lässt sich bei Berlioz eine Trennung z

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28

Harper-Scott, J. P. E. "Berlioz, Love, and Béatrice et Bénédict." 19th-Century Music 39, no. 1 (2015): 3–34. http://dx.doi.org/10.1525/ncm.2015.39.1.3.

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Berlioz's final opera, Béatrice et Bénédict (1860–62) has generally been considered a light-hearted work, revelling in the simple joys of love. Yet his final development of the theme of love, which had preoccupied him at least since the Symphonie fantastique (1830), makes this opéra comique more serious than it might appear to be. Drawing on theories of the human subject by Badiou, Žižek, and Lacan, as well as on the resources of Schenkerian theory, this article invites a new attention on the ideological violence done both by conventional models of love (in this case, on the main characters in

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29

Anger, Violaine. "Hector Berlioz, du symphoniste au dramaturge." Études Octobre, no. 10 (September 25, 2019): 97–106. http://dx.doi.org/10.3917/etu.4264.0097.

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Les cent cinquante ans de la mort d’Hector Berlioz sont l’occasion d’une série de manifestations autour d’une œuvre qui reste à découvrir. Berlioz est l’un de nos grands compositeurs. Avec Claude Debussy, il a même eu l’honneur de figurer sur les derniers billets en franc. Il est connu et reconnu comme le musicien romantique français par excellence.

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30

Mello, Celina Maria Moreira de. "Berlioz, música descritiva e escrita romanesca." Aletria: Revista de Estudos de Literatura 27, no. 2 (October 2, 2017): 83–96. http://dx.doi.org/10.17851/2317-2096.27.2.83-96.

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Serão discutidas questões relativas a conceitos e modos de recortar objetos de pesquisa na área de Letras, suscitadas pelo projeto EST.RE.LA – Estudo das Relações entre Literatura e Arte; Berlioz Romancista? desenvolvido na Universidade Federal do Rio de Janeiro, apoiado com bolsa de produtividade do CNPq e que propõe, como provocação, um Berlioz romancista. No contexto da fraternidade das artes celebrada pelos românticos franceses, na emulação e na rivalidade, destaco a dupla persona de Hector Berlioz que se fundamenta em um exercício de criação que integra a composição de música descritiva e

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31

Hovland, Erlend. "Who’s Afraid of Berlioz?" Studia Musicologica Norvegica 45, no. 01 (October 31, 2019): 9–30. http://dx.doi.org/10.18261/issn.1504-2960-2019-01-03.

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32

Bloom, Peter, Berlioz, Hugh MacDonald, and Roger Nichols. "Selected Letters of Berlioz." Notes 56, no. 2 (December 1999): 407. http://dx.doi.org/10.2307/900020.

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33

McKee, D. "Les Troyens. Hector Berlioz." Opera Quarterly 13, no. 1 (January 1, 1996): 125–30. http://dx.doi.org/10.1093/oq/13.1.125.

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34

Rishoi, N. "Les Troyens. Hector Berlioz." Opera Quarterly 19, no. 3 (July 1, 2003): 521–25. http://dx.doi.org/10.1093/oq/19.3.521.

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35

Glasow, E. T. "Les Troyens. Hector Berlioz." Opera Quarterly 19, no. 3 (July 1, 2003): 525–27. http://dx.doi.org/10.1093/oq/19.3.525.

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36

Graeme, Roland. "Janet Baker Sings Berlioz." Opera Quarterly 7, no. 1 (1990): 225–27. http://dx.doi.org/10.1093/oq/7.1.225.

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37

Rowden, Clair. "French Music Since Berlioz." Musicology Australia 30, no. 1 (January 2008): 135–40. http://dx.doi.org/10.1080/08145857.2008.10416749.

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38

Hannabuss, Stuart. "The Cambridge Berlioz Encyclopedia." Reference Reviews 32, no. 7/8 (September 17, 2018): 37–38. http://dx.doi.org/10.1108/rr-06-2018-0103.

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39

Delacour, J. "JACQUES BERLIOZ (1891-1975)." Ibis 118, no. 4 (April 3, 2008): 595–96. http://dx.doi.org/10.1111/j.1474-919x.1976.tb03528.x.

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40

Krummel, D. W. "Catalogue of the Works of Hector Berlioz . D. Kern Holoman , Hector Berlioz ." Journal of the American Musicological Society 43, no. 2 (July 1990): 367–75. http://dx.doi.org/10.1525/jams.1990.43.2.03a00050.

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41

Raz, Carmel. "Hector Berlioz’s Neurophysiological Imagination." Journal of the American Musicological Society 75, no. 1 (2022): 1–37. http://dx.doi.org/10.1525/jams.2022.75.1.1.

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Abstract There is, Berlioz writes in his essay “De la musique en général” (1837), “a strange agitation in my blood circulation: my arteries beat violently … a trembling overtakes my limbs and a numbness my hands and feet, while the nerves of sight and hearing are partially paralyzed.” The composer here is not, as one might think, describing the symptoms of an opium overdose, but rather the powerful effect of “good music” on his own body. Challenging our tendency to dismiss Berlioz’s musical writings as merely overheated Romantic effusions, I argue that the remarkable medical detail presented i

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42

Brittan, Francesca. "Berlioz and the Pathological Fantastic: Melancholy, Monomania, and Romantic Autobiography." 19th-Century Music 29, no. 3 (2006): 211–39. http://dx.doi.org/10.1525/ncm.2006.29.3.211.

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Both the literary program of Berlioz's Symphonie fantastique and his personal letters dating from the year of the work's composition are suffused with the rhetoric of illness, detailing a maladie morale characterized by melancholy, nervous "exultation," black presentiments, and a malignant idee fixe.. Often mistakenly identified as a term new to the 1830s, the idee fixe has a considerably longer history, dating from the first decade of the nineteenth century when it appeared in the writings of French psychiatrists Etienne Esquirol and Jean-Etienne Georget. Both Esquirol's early writings on ins

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43

Krause, Peter. "ZAUBER DER VERWANDLUNG." Opernwelt 65, no. 5 (2024): 46–47. http://dx.doi.org/10.5771/0030-3690-2024-5-046.

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44

Diagon-Jacquin, Laurence. "« Le Persée de Benvenuto Cellini » de Liszt: un manifeste artistique ?" Studia Musicologica 54, no. 4 (December 1, 2013): 357–66. http://dx.doi.org/10.1556/smus.54.2013.4.2.

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In his text Le Persée de Benvenuto Cellini Liszt is more interested in the problems of the artist in the society and of the specificities of the statuary on the music, than in Benvenuto Cellini’s statue itself. So he establishes a parallel between Cellini and Berlioz, identifying both with the mythic hero. He emphasizes “the hidden relationships between works of genius” (letter from Liszt to Berlioz). The differences and similarities between the arts are also explained. The text gives additional information concerning Liszt himself.

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45

Ritchey, Marianna. "Echoes of the Guillotine: Berlioz and the French Fantastic." 19th-Century Music 34, no. 2 (2010): 168–85. http://dx.doi.org/10.1525/ncm.2010.34.2.168.

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Abstract The fantastic, theorized as an expression of the anxieties, fears, and political beliefs of the generation of young French writers born in the decades directly following the Revolution and Terror, has long been viewed primarily as a literary genre. Observed in light of this artistic movement, Berlioz's most famous work, Symphonie fantastique, emerges as a musical manifestation of fantastic techniques, and Berlioz himself as an important contributor to the Fantastic culture that swept nineteenth-century France. Using Tzvetan Todorov's narrative theory, I identify two techniques fantast

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46

Altenmüller, Dirk-Matthias, and Christian Berger. "Hector Berlioz’ Symphonie fantastico-épileptique." Archiv für Musikwissenschaft 79, no. 2 (2022): 122. http://dx.doi.org/10.25162/afmw-2022-0007.

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47

James, D. Geraint. "Louis Hector Berlioz (1803–69)." Journal of Medical Biography 14, no. 3 (August 2006): 135. http://dx.doi.org/10.1258/j.jmb.2006.06-22.

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48

Law, J. K. "The Cambridge Companion to Berlioz." Opera Quarterly 19, no. 3 (July 1, 2003): 509–11. http://dx.doi.org/10.1093/oq/19.3.509.

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49

Glasow, E. T. "Les nuits d'ete. Hector Berlioz." Opera Quarterly 19, no. 3 (July 1, 2003): 612–15. http://dx.doi.org/10.1093/oq/19.3.612.

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50

O'Neill, D. "Hector Berlioz, Étudiant de Médicine." Journal of the Royal Society of Medicine 82, no. 9 (September 1989): 548–51. http://dx.doi.org/10.1177/014107688908200915.

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