Download Berlioz studies (Cambridge Composer Studies) by Peter Bloom PDF

By Peter Bloom

This quantity comprises 9 huge essays by way of the world's best Berlioz students. They disguise quite a few points of Berlioz's lifestyles and works and signify an enormous contribution to Berlioz examine. The booklet contains 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 a huge 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 tune and - as Berlioz's tune almost always calls for - with the issues of style. perspectives of Berlioz's Les Nuits d'été are offered which ask while and why the paintings was once conceived, and the way the paintings coheres. the sensible query of Berlioz's metronome marks are right here completely studied for the 1st time. the quantity closes with a singular piece, in discussion shape, by way of the elder statesman of Berlioz students, Jacques Barzun, who treats with unheard of grace the profound matters raised via Berlioz the guy and musician.

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Extra info for Berlioz studies (Cambridge Composer Studies)

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66 2 2+ 3 11 h 1 1 1 3 8+ 24 4 1- > = 138J =138 J. 3 ^ = 168 — J = 104 + J =80 + J = 138 J. = 60 + * The figure cannot be calculated since the previous MM has been overridden by 'animez'. t The calculation is correct, but Berlioz added the erroneous remark 'Deux fois plus lent que l'autre mouvement', which is not strictly the case at all. % This off-scale figure is discussed above, p. 22. of the formula in Les Troyens, in the original Epilogue abandoned in 1860 and therefore lacking an MM. 12 The hew tempo is Moderato, amplified by the formula: 'Une mesure de ce mouvement equivaut a un peu moins de quatre du mouvement precedent'.

Nicolas must be the extra name given him at his confirmation, chosen because it was the name of his godfather (and grandfather) Nicolas Marmion. But why the subsequent crossing out? What family drama lies behind it ? It is tempting to link it to two passages in Nicolas Marmion's verse-letters from the 1830s, the period of his grandson's scandalous marriage to a penniless foreign actress. In one of them he says he does not intend to see Hector again; in another he describes the young Prosper as having replaced his brother as the true heir.

76, a decided improvement. (2) The second edition of the ' Chanson a boire' (Allegro frenetico) revised the too fast J = 66 to J =112. (3) The Priere in Herminie (Largo, 4) is set at J = 60, a satisfactory tempo. When the theme returns in the final Allegro of the cantata it is made to move faster at the equivalent of J = 76. But when it was adapted as the ' Chant sacre' (in the Neuf Melodies) this music was marked at J* = 88 (Largo religioso), the equivalent of J = 44 and extremely slow. 25 HUGH MACDONALD (4) The ' idee fixe' in the Symphonie fantastique is marked J = 132 at its first appearance.

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