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Education » Literary
Berlioz on Music: Selected Criticism 1824-1837 screenshot
2015 | ISBN: 0199391955 | English | 328 pages | PDF | 2 MB
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.

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comments

  Resident 5.12.2012 816 21273
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Berlioz was better known by the tongue than by the baton.

Almost none of us would survive this French without fear in the tongue and with sagittarian arrows and a strong kick in whoever reached down his back.

One of his columns was called: the bad musician.
Worst of all, no one came in to play anywhere even if Berlioz had criticized him before, he was a great musical thinker and many people respected him and praised him out of sheer fear.

I personally think that Debussy and Ravel only resolved to be born close to his death, because during Berlioz there was a stagnation of composers in France, the problem is that he was born in 1803 before everyone, soon being older and talented, he occupied the best places. In France many good composers should occupy good pages of the encyclopedias, cease to exist due to lack of courage, fear of Berlioz has deleted many people.

The only French survivors of his time were:
Fauré, Bizet, Saint Saens and Gounod

But when we listen to Berlioz's 'Symphonie fantastique Opus 14', we listen the unique sound quality, perfect orchestration and innovative ideas that will influence a lot of people that come later, this is the biggest kick he gives in anyone who tries to criticize him.

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