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Berlioz on music : selected criticism 1824-1837

Author: Hector Berlioz; Katherine Kolb; Samuel N Rosenberg
Publisher: New York, NY : Oxford Univ. Press, 2015.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Summary:
Katherine Kolb is Professor Emerita of French and German at Southeastern Louisiana University. She also founded and directed the Kolb-Proust Archive at the University of Illinois-Urbana, where she collaborated on the first anthology of Marcel Proust's correspondence (Marcel Proust, Lettres, Plon 2004). Samuel N. Rosenberg is Professor Emeritus of French and Italian at Indiana University, where he taught language and
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Genre/Form: Pressestimme
Quelle
Named Person: Hector Berlioz
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Hector Berlioz; Katherine Kolb; Samuel N Rosenberg
ISBN: 9780199391950 0199391955 9780199391981 019939198X
OCLC Number: 914223453
Description: 1 online resource (XVII, 300 Seiten) : 1 Porträt
Contents: Contents ; 1. MUSICAL POLEMIC: On "Dilettanti" ; 2. MUSICAL POLEMIC: On Armide and Gluck ; 3. THE ARTS. Observations on Classical Music and Romantic Music, Le Correspondant, October 22, 1830 ; 4. Beethoven and the Egyptian Pyramids; Weber's Freischutz; Beethoven's "Pastoral" Symphony ; 5. Liszt, Chopin, and Ferdinand Hiller; launching of the Fantastic Symphony ; 6. MUSIC REVIEW: Mozart's Don Giovanni at the Theatre-Italien; Beethoven quartets ; 7. MUSIC REVIEW: Beethoven by the Muller Quartet; Chopin; Mozart's Don Giovanni vs. Don Juan; ; Handel festival in London ; 8. MUSIC REVIEW: Women performers; violinist Hauman's communicative emotion; Beethoven's Fifth Symphony and Shakespeare's Othello; Cherubini aria sung by Ponchard; rarity of great singers ; 9. Gluck (Part I). Gazette musicale de Paris, June 1, 1834. Biographical sketch; "critique admirative" of monologue from Il Telemaco ; 10. MUSIC REVIEW: Turkish music; Beethoven's "Eroica" booed in Bordeaux; musical conditions in the provinces; oasis of progress in Lyon ; 11. MUSIC REVIEW: Jealousy vs. solidarity among artists; trials of young composers; ironies on Conservatoire training; Henri Reber quartets; Liszt performs in his piano trio ; 12. Music Review: Choron, voice teacher and propagator of sacred music of the past; funeral service at the Invalides: Mozart Requiem, Jommelli, and Palestrina ; 13. Funeral service for Choron; Decline of religious music in France; destruction of old-regime choir schools; church ban on women singers ; 14. Rossini's William Tell (Part I) ; 15. BOIELDIEU: Funeral music for Boieldieu; survey of requiems; Cherubini ; 16. NOTICE TO READERS IDLE ENOUGH TO READ MY ARTICLES: Satirical announcement of Berlioz's upcoming concert, conducted by Girard; amusing summary of Harold in Italy ; 17. IPHIGENIA IN TAURIS (Part I): Early enthusiasm for Gluck; life-changing first experience of Gluck's masterpiece at the Opera (1821). ; 18. Music review: a Elle, Letters for Piano by Chretien Urhan ; 19. THEATRE-ITALIEN: Gabussi's Ernani ; 20. MUSIC REVIEW. OPeRA. William Tell. OPeRA-COMIQUE: Zemire et Azor (reprise). ; 21. CONCERT SOCIETY OF THE CONSERVATOIRE: First Concert [8th season] ; 22. LE MOINE, text by emilien Pacini, music by G. Meyerbeer ; 23. THIRD CONCERT AT THE CONSERVATOIRE: Symphonies by Haydn and Beethoven ; 24. Music REVIEW: Royal Academy of Music: Premiere of la Juive, opera in five acts by MM. ; 25. Music Review. Concert by the Pupils of Choron at the Hotel de Ville ; 26. CONCERT SOCIETY OF THE CONSERVATOIRE: Fourth Concert, Beethoven's "Pastoral" Symphony ; 27. SIXTH CONSERVATOIRE CONCERT: Analysis of Beethoven's Fifth Symphony ; 28. CONCERT BY M. LISZT ; 29. REQUIEM at the Invalides ; 30. ON THE SCORE OF ZAMPA ; 31. MUSIC REVIEW: Bellini's I Puritani at the Theatre-Italien, Cherubini's Treatise on Counterpoint-or a volume of poetry by Chaudesaigues ; 32. MOZART'S DON JUAN ; 33. Religious Music: M. Lesueur: Rachel, Noemie, Ruth et Booz, oratorios; M. Urhan: Auditions ; 34. OPERA-Comique. Concerts. Virtuosos and composers ; 35. First concert [of the season] at the Conservatoire: scene from Mozart's Idomeneo eclipses Beethoven's Seventh Symphony ; 36. LES HUGUENOTS: Acts 4 and 5 ; 37. Concerts at the Conservatoire: The Magic Flute and The Mysteries of Isis ; 38. LISZT ; 39. ANTOINE REICHA ; 40. MUSICAL ENTERTAINMENTS: Le Siege de Corinthe at the Opera; M. Ole Bull; M. Labarre and his harp school; Music of public festivals ; 41. PROGRESS OF MUSICAL EDUCATION IN FRANCE: M. Joseph Mainzer and M. Aubery du Boulley ; 42. Polytechnical Society: Awards ceremony ; 43. OPera: William Tell. Debut of Duprez ; 44. Royal Academy of Music: Premiere of La Chatte metamorphosee en femme, ballet
Responsibility: ed. by Katherine Kolb. Transl. by Samuel N. Rosenberg.

Abstract:

Hector Berlioz was not only a composer, but a renowned writer and critic, and his Memoirs and Evenings with the Orchestra are particularly well-known and loved. This book provides new translations of  Read more...

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Berlioz was forced to write criticism for a living, and hated the necessity, but he wrote marvellously, using his position to attack what was bad and exalt what was good, with the enthusiasm and Read more...

 
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Rosenberg<\/span>\n\u00A0\u00A0\u00A0\nschema:creator<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/2032985223#Person\/berlioz_hector_1803_1869<\/a>> ; # Hector Berlioz<\/span>\n\u00A0\u00A0\u00A0\nschema:datePublished<\/a> \"2015<\/span>\" ;\u00A0\u00A0\u00A0\nschema:description<\/a> \"The quintessential Romantic artist of his century, Hector Berlioz impressed Paganini and Liszt as \"Beethoven\'s only heir\" and dazzled the young Wagner as a composer, orchestra conductor, and critic. To Paris and all Europe, Berlioz was known as much for his writings as for his music, yet there has been no English-language anthology of his criticism available until now. Berlioz on Music plunges us into the Parisian music world during one of its most vibrant periods, the revolutionary years surrounding 1830, still resonant with memories of Napoleon and the French Revolution of only a few decades before. We follow Berlioz as he confronts the transition to a modern, commerce-driven society where music as high art has yet to find a place, using his pen to praise or scold, rouse or cajole performers, composers, managers, and the general public. The articles presented here-given in chronological order and, with a few exceptions, in their entirety-are accompanied by an introductory paragraph and notes that explain Berlioz\'s references to persons, musical and literary works, historical events, and more. The result is an engaging collection of Berlioz\'s lively prose, presented with scholarly rigor and rendered in accessible, graceful English. Scholars, lovers of Berlioz\'s music, history enthusiasts, and Francophiles will delight in this compelling introduction to one of the richest periods of French culture.<\/span>\" ;\u00A0\u00A0\u00A0\nschema:description<\/a> \"Katherine Kolb is Professor Emerita of French and German at Southeastern Louisiana University. She also founded and directed the Kolb-Proust Archive at the University of Illinois-Urbana, where she collaborated on the first anthology of Marcel Proust\'s correspondence (Marcel Proust, Lettres, Plon 2004). Samuel N. Rosenberg is Professor Emeritus of French and Italian at Indiana University, where he taught language and linguistics -- including translation -- and literature of the Middle Ages. 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