Evenings with the Orchestra

Cover
University of Chicago Press, 15.05.1999 - 381 Seiten
During the performances of fashionable operas in an unidentified but "civilized" town in northern Europe, the musicians (with the exception of the conscientious bass drummer) tell tales, read stories, and exchange gossip to relieve the tedium of the bad music they are paid to perform. In this delightful and now classic narrative written by the brilliant composer and critic Hector Berlioz, we are privy to twenty-five highly entertaining evenings with a fascinating group of distracted performers. As we near the two-hundredth anniversary of Berlioz's birth, Jacques Barzun's pitch-perfect translation of Evenings with the Orchestra —with a new foreword by Berlioz scholar Peter Bloom—testifies to the enduring pleasure found in this most witty and amusing book.

"[F]ull of knowledge, penetration, good sense, individual wit, stock humor, justifiable exasperation, understanding exaggeration, emotion and rhetoric of every kind."—Randall Jarrell, New York Times Book Review

"To succeed in [writing these tales], as Berlioz most brilliantly does, requires a combination of qualities which is very rare, the many-faceted curiosity of the dramatist with the aggressively personal vision of the lyric poet."—W. H. Auden, The Griffin
 

Inhalt

Prologue
5
First Evening The First OperaVincenzaThe Vexations of Kleiner the Elder
9
Second Evening The Strolling HarpistThe Perfomance of an OratorioThe Sleep of the Just
32
Third Evening Der Freischütz
52
Fourth Evening A Debut in FreischützMarescot
53
Fifth Evening The S in Robert le diable
60
Sixth Evening How a Tenor Revolves around the PublicThe Vexations of Kleiner the Younger
64
De viris illustribus urbis RomæA Roman WomanVocabulary of the Roman L
76
Fifteenth Evening Another Vexation of Kleiner the Elders
187
Sixteenth Evening Musical and Phrenological StudiesNightmaresThe Puritans of Sacred MusicPaganini
188
Seventeenth Evening The Barber of Seville
200
Eighteenth Evening Charges Leveled against the Authors CriticismAnalysis of The LighthouseThe Piano Possessed
201
Nineteenth Evening Don Giovanni
221
Napoleons Odd SusceptibilityHis Musical JudgmentNapoleon and LesueurNapoleon and
222
TwentyFirst Evening The Study of Music
228
Twentysecond Evening lphigenia in Tauris
253

Eighth Evening Romans of the New WorldMr BarnumJenny Linds Trip to America
99
Ninth Evening The Paris Opéra and Londons Opera Houses
105
Tenth Evening On the Present State of MusicThe Tradition of TackA Victim of Tack
118
Eleventh Evening A Masterpiece
133
Twelfth Evening Suicide from Enthusiasm
134
Thirteenth Evening Spontini a Biographical Sketch
152
Fourteenth Evening Operas off the Assembly LineThe Problem of BeautySchillers Mary StuartA Visit to Tom Thumb
180
Twentythird Evening Gluck and the Conservatory in NaplesA Saying of Durantes
254
Twentyfourth Evening Les Huguenots
257
Twentyfifth Evening Euphonia or the Musical City
258
Epilogue The Farewell Dinner
298
Second Epilogue Corsinos Letter to the AuthorThe Authors Reply to CorsinoBeethoven and His Three StylesBeethovens Statu
310
Index
377
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French composer Hector Berlioz was one of the most influential composers of the romantic period in music. The son of a French physician, Berlioz showed an aptitude for music at an early age and taught himself to perform and compose. For a time, his father indulged his son's pastime, but in 1821 he sent the young Berlioz to Paris to study medicine. Although he attended lectures at the medical school there, Berlioz gave most of his attention to music, studying with a private music teacher and composing his own pieces. Finally, in 1826 Berlioz abandoned his medical studies and enrolled at the Paris Conservatory. To support himself, he gave music lessons and wrote articles on music. While at the Paris Conservatory, Berlioz applied for the Prix de Rome. He entered the contest four times before finally winning the prize in 1830. In that same year, Berlioz completed the Symphonie Fantastique, his most ambitious and well-known work. Based on Confessions of an English Opium Eater by Thomas De Quincey, the symphony is an example of program music, that is, music that represents a story or sequence of ideas. Berlioz developed the genre of program music into a highly regarded art, drawing themes from the works of William Shakespeare, Johann Wolfgang von Goethe, Lord Byron, and Theophile Gautier. Because the unusual nature of his compositions failed to win him much recognition, Berlioz was forced to earn a living as a music critic and music librarian. By the time he was 34 years old, he had established a pattern in his career: Each new musical composition was greeted by a mixture of wild enthusiasm from younger composers and hostility from the entrenched musical establishment. Although he did achieve some measure of fame in later life, Berlioz's genius went largely unrecognized. Despondent in later years because of a broken marriage and financial problems, Berlioz composed the dramatic symphony Romeo and Juliet. His last years were lived in bitterness and loneliness after the death of his second wife and his son. Berlioz has been called the greatest composer of melody since Mozart. He is also recognized as a master of the orchestra, having greatly expanded its expressive range through his profound understanding of individual instruments. Finally, his experimentation with new musical structures and meters freed younger composers from the strict requirements of classical musical forms and opened the way to other musical approaches. Berlioz died in Paris in 1869 after a long illness.

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