Dissertations / Theses on the topic 'Berlioz, Hector, 1803-1869 Operas'
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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
Jubault, Geoffrey. "Les éléments autobiographiques dans "La Damnation de Faust" d'Hector Berlioz." Thesis, Nancy 2, 2011. http://www.theses.fr/2011NAN21032.
Full textHector Berlioz's Damnation of Faust cannot be classified among the usual musical genres. Halfway between the piece of concert and the opera, it is not only inspired by Goethe's Faust (translated by Nerval), but apparently also, by the composer's life. This thesis describes the composition process and highlights the autobiographical elements. These were divided into two categories. The first category investigates the supposedly autobiographical elements, namely the anecdotes of Berlioz's memoirs and correspondence consistent with the synopsis of the Damnation, the analogy of some genuine persons with those of the libretto and finally, the musical and literary influences the composer may have received. The second category regroups the proven autobiographical elements, including the reuse of some of his early compositions, the application of the precepts of the treaty and their integration into La Damnation
Morgan, Richard Sanborn. "The Serpent and Ophicleide as Instruments of Romantic Color in Selected Works by Mendelssohn, Berlioz and Wagner." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5495/.
Full textVial-Henninger, Mireille. "Essai de mythe-analyse du processus de création musicale : justification, méthode, application. Beethoven, la 23e sonate dite Appassionata (exposition) ; Berlioz, Episode de la vie d'un artiste : la Symphonie fantastique suivie de Lélio ou le retour à la vie." Paris 4, 1996. http://www.theses.fr/1996PA040092.
Full textThrough the analysis of two pieces - the exposition of the 1st movement of L. Van Beethoven’s sonata Appassionata, and Berlioz's Symphonie fantastique followed by Lelio ou le retour a la vie - the author tries to bring out the fertility and feasibility of what could become a new form (or application) of musical analysis. The author primarily uses a rational approach, reasoning through analogies applied to the logic of living things, binary and polarized (following the model of biologist S. Lupasco) linked to myth. This method only takes account of the musical piece itself and does not investigate the composers’ lives as a psychoanalytical approach could do. In a somewhat analogues fashion - the use of myth - the author is able to explain the pieces. Once analyzed in a strictly classical way (factorial, structural and dynamic), the use of myth not only gives meaning to the structures, but brings out remarkable aspects that demonstrate that the composer - be it consciously or not - has followed a personal creative process that inscribes itself in the general plan of the development of a myth. This methodical expose came about from the pedagogical necessity to explain rationally the use of vocabulary coming from sentiment. The author would be satisfied to see this work go beyond the field of research and into that of education
Loisel, Gaëlle. "La Musique au défi du drame : Berlioz et Shakespeare." Thesis, Lyon, École normale supérieure, 2012. http://www.theses.fr/2012ENSL0747.
Full textAs early as 1770, Shakespeare is set up as a model by the artists who consider it necessary to break away from classical aesthetics. His name is so high that he becomes a figurehead for the various forms of European romanticisms, in literature as well as in music. As the founder of the French musical romanticism, Hector Berlioz embodies the romantic approach which consists in seizing a literary figure to discard the existing aesthetical categories and thus bring about new musical forms. Right from 1827, the year the musician discovers Shakespeare, until his last opera in 1862, Béatrice et Bénédict, adapted from the comedy Much ado about nothing, Berlioz widely draws his inspiration from the English playwright and constantly refers to him in his musical, critical and even autobiographical works. The issues raised by this close relationship are threefold : the way Shakespeare’s plays were received, the problem of cultural transfer and the shift from one semiotics to another. First of all it brings forth questions about the process which leads a composer to make a literary works his own and the theoretical aspects at stake. Also, this relationship makes it necessary to see how Berlioz’s approach fits in with the way Europe received Shakespeare at the turn of the 19th century, in so far as the reference to the playwright takes place at a time when a new aesthetics of the sublime is in progress, as shows our study of the relationship between text and music. It so appears that the “Shakespearean system” enriches the composer’s reflexions on musical forms and genres
Cunin, Maurice. "Faust à l'Opéra." Paris 4, 1993. http://www.theses.fr/1994PA040062.
Full textIn this thesis i propose to compare three libretti which deal with the myth of faust : gounod's faust, berlioz's damnation de faust and boito's mefistofele. After a reminder of the scenarios of these works and of their similarities on differences compared to goethe's poem, the dramatics personae are studied. In the second part the main themes of the libretti are examined. The third part analyses style and versification
Nieden, Gesa zur. "Vom grand spectacle zur great season : das Pariser Théâtre du Châtelet als Raum musikalischer Produktion und Rezeption (1862-1914)." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0104.
Full textIn the period from 1862 to 1914 the Parisian Théâtre du Châtelet hosted the three different musical genres grand spectacle, symphonic concert (Concerts Colonne) and musical theatre of the avant-garde (Salome of Richard Strauss, Ballets Russes). This range of genres is musically and socially representative of the musical life of Paris. The study of this theatre as a room of musical production and reception in the period from 1862 to 1914 analyses the establishment and the institutionalisation of these different genres in the Théâtre du Châtelet and defines a reception model for each of them. Methodologically our study is based on the approach of sociology of architecture and the spatial concept of the theatre historian Mercedes Viale-Ferrero. A comparison of the three different types of musical production in that époque sheds light on the eclecticism of the 1920s when Paris advanced to be the European capital of the arts
Star, Allison. "Beethoven poet: Hector Berlioz's "A critical study of Beethoven's nine symphonies" at the crossroads of French Romanticism." Thesis, 2011. http://hdl.handle.net/1828/3662.
Full textGraduate
Botha, Henry Russell. "Towards a psychoanalytical music analysis of Hector Berlioz's song cycle Les nuits d'été." Diss., 2012. http://hdl.handle.net/10500/6295.
Full textArt History, Visual Arts & Musicology
M.A. (Musicology)