Academic literature on the topic 'Berlioz, Hector, 1803-1869 Operas'
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Journal articles on the topic "Berlioz, Hector, 1803-1869 Operas"
De Mello, Celina Moreira. "Berlioz, poeta e músico." Organon 32, no. 63 (December 28, 2017). http://dx.doi.org/10.22456/2238-8915.76268.
Full textDissertations / Theses on the topic "Berlioz, Hector, 1803-1869 Operas"
Lee, Namjai. "Orchestral Accompaniment in the Vocal Works of Hector Berlioz." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277761/.
Full textLoriot, Charlotte. "La pratique des interprètes de Berlioz et la construction du comique sur la scène lyrique au XIXe siècle." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040238.
Full textThe practices of the performers who first produced Berlioz’s Benvenuto Cellini, La Damnation de Faust and Béatrice et Bénédict deserves to be better known: they followed other traditions than ours, and to understand their habits, practices and artistic context offers another way of conceiving these musical works. The present thesis considers the framework in which these artists worked, that is to say their training, their careers, the progress of the rehearsal of an opera and the trades involved, as well as the schools of acting, of singing, and the preparation of a role. The individual artists will also be introduced, in particular those who played in the comic scenes of the concerned works. The last chapters, which explore the way in which the corpus’ works were performed on the stage of the Paris Opera and the theater of Bade, as well as at the Paris Opera-Comic and the theater of Weimar, mix all these sources and documents and combine musical and scenic elements
Lamotte, Frédéric-Georges. "Hector Berlioz : son activité de feuilletoniste au Journal des Débats et sa position dans la société parisienne (1834-1863)." Paris 1, 1999. http://www.theses.fr/1999PA010656.
Full textBartoli, Jean-Pierre. "L'Oeuvre symphonique de Berlioz : forme et principes de développement." Paris 4, 1991. http://www.theses.fr/1991PA040024.
Full textGill, Sarah M. "The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2249/.
Full textSyreishchikova, Anastasiia. "Les voyages d’Hector Berlioz en Russie : histoire d’un dialogue musical franco-russe (1833-1869)." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP040.
Full textFrench composer Hector Berlioz (1803-1869) organized two series of concerts in Russia (in 1847 and 1867-1868, in both Moscow and St. Petersburg). The musician himself considered these tours as the greatest triumphs of his career. This image of a massively positive reception of Berlioz in Russia – based primarily on his own accounts – has been little studied due to the inaccessibility of Russian sources. The goal of the present thesis is therefore to reconstruct the history of the relationship between Berlioz and Russia during the composer's lifetime, in order to better understand the reasons for his success. Drawing on unpublished documents from the Russian archives – press, posters, administrative files, correspondence (including three new letters from Berlioz) – we present a more nuanced account of the relationship between Berlioz and Russia. This theme is approached from three perspectives: 1. The critical reception of Berlioz in the Russian press (about 360 articles, published between 1833 and 1869) and the role of the press in the formation of Berlioz's image; 2. The performance of Berlioz's works in Russia, both during his visits and in his absence (with new details about the organization of his concert tours); 3. Berlioz's contacts with several Russian musicians, including M. Glinka, A. Verstovskij, V. Kologrivov, A. Lvov and M. Balakirev; his dedication of the Symphonie fantastique to tsar Nicholas I; his arrangements of two works by D. Bortnanskij. This study helps to better understand artistic relations between France and Russia in the 19th century, but also Berlioz's importance for Russian culture and music
Kiuchi, Mariko. "La Grande Messe des morts de Hector Berlioz (1837) : son langage musical et sa stratégie rhétorique." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL040.
Full textHector Berlioz’s Grande Messe des morts has been particularly recognized by its variety of styles and the rapid change of expressive atmospheres. His innovative style arouses public’s emotion by cultivating a great number of unexpected effects that the music press in time of its first performance emphasized. How can be characterized various musical styles which connect with one another in this Requiem? How does the composer behave to attract the audience and to arouse their emotion? How did the audience feel composer’s strategy which was deployed in this work? This thesis aims to make clear the function of various musical materials in his composition, a communication mechanism established between composer and audience, and his conception of the “sacred” music. A study of rhetoric in his Requiem is founded on four successive analyses, inspired by Jean Molino and Jean-Jacques Nattiez’s musical communication theory and Jean-Pierre Bartoli’s rhetoric analysis: 1. study of the creative process of the composition (analysis of the external poïétique); 2. study of the music criticism of press articles (analysis of the external esthésique); 3. study of the principal of the music’s development and its formal narrativity (analysis of the inductive poïétique); 4. study of the tactics on audience’s expectation handled by the composer (analysis of the inductive poïétique). This study concluded that Berlioz succeeded in managing the dramatic intensity and the religiousness through a certain art of discourse, which maintains the work’s unity with a variety of atmospheres, musical topics and styles
Bordry, Guillaume. ""La musique est un texte" : histoire, typologie, et fonctions de la description littéraire de la musique, en particulier dans l'oeuvre d'Hector Berlioz (1803-1869)." Paris 3, 2005. http://www.theses.fr/2005PA030068.
Full textStarting from a phrase by Honoré de Balzac, " music is a text ", this work attempts to define a specific kind of textual practice : the literary description of music, which consists in recreating musical art by other means than technical ones. This kind of description focuses on the emotions and the imagination of the listener, who transcribes his impressions thanks to literary processes. Musical experience thus takes the shape of a literary practice : reading. Composers, Berlioz first, use the evocative power of these texts in their own musical creation. The first part of this work outlines a history and a typology of the literary description of music. The second part illustrates the first, focusing on a specific case, Hector Berlioz's, and enlightens both his manipulations of text and music. Berlioz is at the same time a composer, a writer, a listener and a reader, which allows his musical descriptions to play a specific role in his writings as well as in his music. This work attempts to define the forms and the sense of it
Carenco, Céline. "L'influence des transcriptions d'œuvres d'Hector Berlioz sur l'écriture orchestrale de Franz Liszt." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2199.
Full textThe object of the present thesis is Franz Liszt’s production from the years 1830-1850. Liszt is mostly based in Paris between December 1823 and April 1844 and during this training at the very heart of the Romantic revolution, he gradually develops a writing style for his orchestral pieces that he will put into practice in Weimar after 1848. During these Parisian years, Liszt writes many piano arrangements of orchestral scores, and here we propose that it provided the basis for his revolution of piano music, but also made him quite familiar with the orchestral writing of his time. It is indeed of particular significance that Berlioz – often considered the father of modern orchestra – is one of the composers Liszt transcribed most often, from very early on.We use two complementary approaches from the field of musicology, traditional historical analysis and more recent techniques of sketch studies. To understand if and how Liszt’s rewritings of Berlioz’ work influenced his own orchestral style we first studied each arrangement in its context. We then focused on the genesis of these pieces by analysing a great amount of sketches and drafts in order to shed light on the maturation process that led to Liszt’s fully-fledged orchestral style from the 1850’s (the decade in which he produced most his symphonic works)
Streletski, Gérard. "Hector Berlioz et Edme-Marie-Ernest Deldevez : étude comparée de leur formation et de leur insertion dans la société du XIXe siècle (1803-1897) : contribution à l'histoire sociale de la musique en France." Paris 4, 1996. http://www.theses.fr/1995PA040197.
Full textUnder the title Hector Berlioz and Edme-Marie-Ernest Deldevez : compared study of their training and of their insertion in the 19th century society (1803-1897), this is in France one of the first attempts that can be found of compared biographies. It concerns two composers and conductors from the romantic century. Through this contribution to the social history of music in France which leans firmly on historical chronology, it reports the constructive elements of the training and insertion of two outstanding musicians in the true setting of the society that they moved in. Furthermore for the second one of them, who is today almost unknown, this is the first important monograph that has ever been dedicated to him. The other musician, who is almost the only reflect of the romanticism of French music, this is a revision, sometimes not without surprises, as for the clichés that he is more often the subject of. One enlightens the other. From the birth of Berlioz (1803) to the death of Deldevez (1897) nearly a century passes during which the French society born of the revolution is built, organized and torn apart turn and turn about. It is in this context, that was fundamental for them, that Berlioz, the new Cellini, creates a works in which his volcanic genius seizes every opportunity to construct a destiny which is shown by posterity. It is here also that Deldevez, pupil of Berton, Habeneck and Halevy, as well as being a friend of Gounod and Ambroise Thomas, builds a career in which he can be seen conducting the Société des concerts, inaugurating the Palais-Garnier and, what is more, becoming the first official pedagogue of orchestral conducting, proselyte of his elder's music. One remains; the other one has been forgotten. The descriptive catalogue of his musical works is attached to de principal book
Books on the topic "Berlioz, Hector, 1803-1869 Operas"
Berlioz. Cambridge, Mass: Harvard University Press, 1989.
Find full textHoloman, D. Kern. Berlioz. Cambridge, MA: Harvard University Press, 1989.
Find full textBerlioz. London: Faber, 1989.
Find full textBerlioz. Oxford: Oxford University Press, 2000.
Find full textBerlioz, Roméo et Juliette. Cambridge: Cambridge University Press, 1994.
Find full textPeter, Bloom, ed. Berlioz: Past, present, future : bicentenary essays. Rochester, NY: University of Rochester Press, 2003.
Find full textCairns, David. Berlioz: Volume Two: Servitude and Greatness. Berkeley: University of California Press, 2000.
Find full textBerlioz, Hector. The memoirs of Hector Berlioz. New York: A.A. Knopf, 2002.
Find full textPeter, Bloom, ed. Berlioz studies. Cambridge: Cambridge University Press, 2006.
Find full textBerlioz, Hector. Selected letters of Berlioz. New York: Norton, 1997.
Find full textBook chapters on the topic "Berlioz, Hector, 1803-1869 Operas"
"Hector Berlioz (1803–1869)." In Music Analysis in the Nineteenth Century, 39–57. Cambridge University Press, 1994. http://dx.doi.org/10.1017/cbo9780511470257.004.
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