In this masterpiece of "program" music ? a genre invented by the composer ? an obsessed musician is overcome by increasingly bizarre visions of his lover. This miniature score version is handy, inexpe
inch....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken inch. (Oliver James,Contact Magazine) A novel and c
A lovesick musician in a self-induced narcotic haze is overcome by bizarre visions of his beloved. This masterpiece of "program" music a genre invented by Berlioz communicates musically
Complete authoritative scores of two Romantic symphonic masterpieces show extra-musical themes of "program music" — and intuitive genius, Shakespearean passion of Berlioz. Includes Symphonie Fantastiq
For three decades, beginning with the Symphonie fantastique composed in 1830, Berlioz and his music embodied the ?lan and exuberance of the Romantic era. This captivating and sumptuously illustrated
The centrality of fantasy to French literary culture has long been accepted by critics, but the sonorous dimensions of the mode and its wider implications for musical production have gone largely unexplored. In this book, Francesca Brittan invites us to listen to fantasy, attending both to literary descriptions of sound in otherworldly narratives, and to the wave of 'fantastique' musical works published in France through the middle decades of the nineteenth century, including Berlioz's 1830 Symphonie fantastique, and pieces by Liszt, Adam, Meyerbeer, and others. Following the musico-literary aesthetics of E. T. A. Hoffmann, they allowed waking and dreaming, reality and unreality to converge, yoking fairy sound to insect song, demonic noise to colonial 'babbling', and divine music to the strains of water and wind. Fantastic soundworlds disrupted France's native tradition of marvellous illusion, replacing it with a magical materialism inextricable from republican activism, theological he
These twelve essays bring new breadth and depth to our knowledge of the life and work of the composer of the Symphonie fantastique. A distinguished international array of scholars here treat such matt
Still chiefly known as the extravagant composer of the Symphonie fantastique, Berlioz was an artist caught in the crossfire between the academic classicism of the French musical establishment and the romantic modernism of the Parisian musical scene. He was a thinker in an age that invented both the religion of art and the notion of the 'genius' who preached and practised it. This Companion contains essays by eminent scholars on Berlioz's place in nineteenth-century French cultural life, on his principal compositions (symphonies, overtures, operas, sacred works, songs), on his major writings (a delightful volume of memoires, a number of short stories, large quantities of music criticism, an orchestration treatise), on his direct and indirect encounters with other famous musicians (Gluck, Mozart, Beethoven, Wagner), and on his legacy in France. The volume is framed by a detailed chronology of his life and a usefully annotated bibliography.
Berlioz was arguably the greatest French composer of the nineteenth century. Although the author of the Symphonie fantastique was possessed of a fertile imagination and sometimes obsessed by love, the
The centrality of fantasy to French literary culture has long been accepted by critics, but the sonorous dimensions of the mode and its wider implications for musical production have gone largely unexplored. In this book, Francesca Brittan invites us to listen to fantasy, attending both to literary descriptions of sound in otherworldly narratives, and to the wave of 'fantastique' musical works published in France through the middle decades of the nineteenth century, including Berlioz's 1830 Symphonie fantastique, and pieces by Liszt, Adam, Meyerbeer, and others. Following the musico-literary aesthetics of E. T. A. Hoffmann, they allowed waking and dreaming, reality and unreality to converge, yoking fairy sound to insect song, demonic noise to colonial 'babbling', and divine music to the strains of water and wind. Fantastic soundworlds disrupted France's native tradition of marvellous illusion, replacing it with a magical materialism inextricable from republican activism, theological he
