Berlioz studies (Cambridge Composer Studies) by Peter Bloom

Berlioz studies (Cambridge Composer Studies) by Peter Bloom

By Peter Bloom

This quantity includes 9 titanic essays through the world's prime Berlioz students. They conceal a variety of facets of Berlioz's lifestyles and works and signify a huge contribution to Berlioz examine. The ebook comprises essays according to files, either biographical and musical, that provide us, between different issues, a portrait of the artist as a tender guy and a revealing view of an incredible yet little-studied paintings of his adulthood. There are readings of Romeo et Juliette and los angeles Damnation de Faust that combat anew with the issues of the relationships among literature and track and - as Berlioz's song almost always calls for - with the issues of style. perspectives of Berlioz's Les Nuits d'été are offered which ask whilst and why the paintings was once conceived, and the way the paintings coheres. the sensible query of Berlioz's metronome marks are the following completely studied for the 1st time. the amount closes with a singular piece, in discussion shape, via the elder statesman of Berlioz students, Jacques Barzun, who treats with unheard of grace the profound matters raised by way of Berlioz the guy and musician.

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Extra info for Berlioz studies (Cambridge Composer Studies)

Example text

Nearly all performances get quicker here, it seems. The Te ergo is simply a case where no performance ever seems to attain the slow speed Berlioz specified. Is J = 50 a mistake for J = 60, perhaps ? There is a much longer list of movements that seem remarkably fast or slow, each item of which may be disputed by each individual. The following are not unattainable, but they need special effort and will usually cause some surprise when played correctly: FAST: Francs-Juges Overture, Allegro assai, I, o = 80 Huit Scenes de Faust, Histoire d'une puce, Allegro, 4, J.

152 of the NBE score of La Damnation de Faust (Vol. 8a) is a misprint for J = 96. 34 Berlioz and the metronome Christ; ' allegro mosso' for the Chansonette; ' placido' at the opening of La Damnation de Faust; ' prestissimo' for La Reine Mab; ' spiritoso' for 'L'lle inconnue'; there are others. The most intriguing problem that these Italian terms present is to determine whether the diminutives ' allegretto' and ' andantino' are faster or slower than their parent terms. Both are exceedingly common in Berlioz.

Metronome marks that were increased in later versions are much scarcer than those that were reduced. Of the six examples listed below 26 Berlioz and the metronome three show only a marginal increase, barely significant in performance, and one of those is to a suspicious off-scale figure. One revision is of doubtful authenticity, and the figure for Brander's song can only be read as an increase by emending Berlioz's figure. So we are left with only one indisputable case (the Meditation religieuse) where Berlioz raised the tempo of a composition at a later date.

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