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Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 28 luglio 2024

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1

Mello, Celina Maria Moreira de. "As Memórias (1865), de Hector Berlioz: legitimação e rasura de um autor / The Memoirs (1865), by Hector Berlioz: Legitimation and Erasure of an Author". Caligrama: Revista de Estudos Românicos 24, n. 3 (18 dicembre 2019): 177. http://dx.doi.org/10.17851/2238-3824.24.3.177-192.

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Resumo: O presente artigo tem como objetivo propor uma releitura das Memórias (1865) de Berlioz, desenvolvendo a hipótese de um ethos autoral rasurado. Será revisitado o conceito de ethos e sua funcionalidade na interpretação do discurso literário (MAINGUENEAU, 2004), desnaturalizado e visto como um constructo cultural. A interrogação voltada para a autobiografia de Berlioz demandou, para além da Análise do Discurso, o recurso a métodos de leitura provenientes de abordagens oferecidas pela história da edição e as teorias do campo literário (BOURDIEU, 1992). Nas Memórias de Berlioz combinam-se estratégias discursivas de projeção de um ethos de compositor, assim como da afirmação e rasura de um ethos de escritor, compondo uma persona de artista romântico.Palavras-chave: Berlioz; memórias; romantismo; ethos.Abstract: This article aims to propose a re-reading of Berlioz’s The Memoirs (1865), developing the hypothesis of an obliterated author ethos. It will revisit the concept of ethos and its functionality in the interpretation of literary discourse (MAINGUENEAU, 2004), denatured and seen as a cultural construct. In addition to analyzing the discourse, the question of Berlioz’s autobiography demanded the use of reading methods from approaches offered by the history of publishing and the theories of the literary field (BOURDIEU, 1992). Berlioz’s Memoirs combine discursive strategies of projection of a composer ethos, as well as the affirmation and erasure of an ethos of writer, composing a persona of romantic artist.Keywords: Berlioz; memoirs; romanticism; ethos.

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2

Kolb, Katherine. "Flying Leaves: Between Berlioz and Wagner". 19th-Century Music 33, n. 1 (2009): 25–61. http://dx.doi.org/10.1525/ncm.2009.33.1.025.

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Abstract This article analyzes the writings of Berlioz on Wagner and, to a lesser extent, of Wagner on Berlioz, emphasizing the covert innuendoes of their verbal sparring during the period surrounding the Tannhääuser debacle at the Paris Opééra (1860) and Berlioz's tribulations with Les Troyens (ca. 1853––63). Because Berlioz's style and subtlety have worked against him in this famous rivalry, the priority goes to him, and especially to his magnum opus as critic, the volume A travers chants (1862). A selection from thirty years of music criticism both serious and light ("flying leaves"), A travers chants reveals itself as an unconventional counterpart to Wagner's treatises; as a tactical response to Wagner, both in the reprinted review of his 1860 concerts and in the structure, themes, and allusions of the text as a whole; as an object lesson in reading Berlioz, whose engaging clarity and humor can be more deceptive, in their ironic undertones, than the thickets of Wagner's famously tangled prose. This article interrogates some of that prose, revealing Wagner's deep ambivalence toward a predecessor of intimidating prestige to whom his music is frequently indebted——as Berlioz occasionally finds coded ways of reminding him. It shows Berlioz, for his part, continually sympathetic to the younger man's practical difficulties and high artistic ideals. And it shows him eventually coming to acknowledge the power and legitimacy of his music, despite strong aversion to Wagner's harmonic idiom and to the two cardinal points of his aesthetic: an "impious" insistence on the primacy of the word; belief in a musical progress culminating in his own Gesamtkunstwerk. In a late letter wrongly omitted from the Correspondance géénéérale (its authenticity and correct date are here established), Berlioz movingly implies the injustice of his earlier prejudice toward a practice sanctioned by his own unshakeable creed of artistic freedom.

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3

Cormac, Joanne. "Between Beethoven and Mendelssohn: Biographical Constructions of Berlioz in the London Press". 19th-Century Music 44, n. 2 (2020): 80–99. http://dx.doi.org/10.1525/ncm.2020.44.2.80.

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In 1853 a writer for the London-based periodical Fraser's Magazine remarked that Berlioz's “heroic temperament” could be “read legibly in the noble style of his compositions. His own life forms to these works the most interesting accompaniment and commentary.” The linking of life and work in Berlioz's case is nothing unusual. However, a particular set of circumstances unique to London meant that critics based in that city persistently used Berlioz's biography to further their own agendas while also promoting his music. In this article, I argue that, when writing about Berlioz's London performances, critics employed biographical ideas and narratives that enabled them to use the composer as a means to shape local debates about the future of London's orchestral institutions: the Philharmonic Society and its latest “rival”: the New Philharmonic Society. Biography proved a powerful rhetorical device from which Berlioz profited and is central to our understanding of his critical reception in London. It was used to introduce, to persuade, to simplify, to generate sympathy, admiration, and outrage. However, I reveal that in later visits biographical narratives overshadowed the coverage of Berlioz's music. In some articles, Berlioz was reduced to a rhetorical device to be employed to give strength to criticisms of either the old Philharmonic or the new, with the critic offering little insight into Berlioz's music. Biography had given Berlioz a foothold in musical London, but it could not win him the lasting success he craved.

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4

Anderson, Robert, Donna Brown, Jean-Luc Viala, Gilles Cachemaille, Monteverdi Choir, Orchestre Revolutionnaire et Romantique, John Eliot Gardiner, Rosalind Plowright, Philharmonia Orchestra e Jean-Philippe Rouchon. "Berlioz". Musical Times 135, n. 1820 (ottobre 1994): 649. http://dx.doi.org/10.2307/1003140.

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5

Rushton, Julian. "Berlioz". Nineteenth-Century Music Review 2, n. 2 (novembre 2005): 204–6. http://dx.doi.org/10.1017/s1479409800002366.

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6

Rushton, Julian. "Berlioz". Nineteenth-Century Music Review 5, n. 1 (giugno 2008): 135–37. http://dx.doi.org/10.1017/s1479409800002676.

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7

Schumann, Bianca. ""... so merkt man ihr allerdings den achtzehnjährigen, unbeholfenen Komponisten an..."". Die Musikforschung 73, n. 4 (22 settembre 2021): 355–67. http://dx.doi.org/10.52412/mf.2020.h4.4.

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In the course of the aesthetic controversy of the 19th century over programme music, which was particularly intense in Vienna, 'conservative' as well as 'progressive' ciritcs, who wrote for the daily press, endeavoured to appropriate Hector Berlioz for their personal aesthetic convictions. Even for reviews written in the 1860s and 1870s, when Berlioz's large-scale works were first performed by leading Viennese orchestras, Robert Schumann's review of the Symphonie fantastique (1835) played a significant role. Schumann's appreciative assessment of the symphony, which was strongly influenced by his misconception that Berlioz was only eighteen years old at the time of composition of the Symphony fantastique, had a decisive influence on the journalistic discourse on Berlioz in Vienna far beyond the first half of the century, for example on Hugo Wolf and Edmund Schelle. Other critics, such as August Wilhelm Ambros and Eduard Hanslick, took Schumann's ambiguity as their starting point to validate their less positive judgements.

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8

Kawabata, Maiko. "The Concerto that Wasn't: Paganini, Urhan and Harold in Italy". Nineteenth-Century Music Review 1, n. 1 (giugno 2004): 67–114. http://dx.doi.org/10.1017/s1479409800001889.

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It was Paganini's request for a concerto that prompted Berlioz to embark on the composition that eventually became Harold in Italy. The legendary virtuoso, then at the height of his fame, had recently acquired a fine Stradivari viola and needed a suitable vehicle for introducing the instrument to the public. He was puzzled and disappointed by Berlioz's score. It certainly was not the anticipated virtuoso vehicle, and within months Paganini had composed a substitute for himself, the Sonata per la grand viola. Berlioz explained that his work was ‘a new kind of symphony and not a composition written to show off a unique talent like [Paganini's]’. Berlioz's programmatic symphony with solo viola – the concerto that wasn't – would appear on the surface to be utterly devoid of the established codes of the virtuoso concerto.

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9

Rodgers, Stephen. "Miniatures of a Monumentalist: Berlioz's Romances, 1842–1850". Nineteenth-Century Music Review 10, n. 1 (giugno 2013): 119–49. http://dx.doi.org/10.1017/s1479409813000062.

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This article reassesses Berlioz's complex relationship to the French romance. Berlioz is often regarded as a musical revolutionary who made his mark writing massive, path-breaking symphonies – a far cry from the popular songs that became a staple of the bourgeois woman's salon. Yet he wrote romances throughout his life. How are we to understand these songs in the context of his overall output? What did the genre mean to him? How do his romances relate to the larger works on which his reputation rests? I explore these questions in relation to the romances he composed or revised between 1842 and 1850, a period often regarded as a fallow one for Berlioz but one that nonetheless saw a surge of songwriting activity. Drawing upon recent theories about the autobiographical construction of Berlioz's music, and considering when these songs were written or revised, to whom they were dedicated, what images were associated with them and how their texts relate to the events of Berlioz's biography, I argue that their conventionality belies a deeply personal resonance and a musical ingenuity uncommon to the romance genre. As a whole, these songs show Berlioz returning to an intimate and direct style during an especially introspective and nostalgic period of his life. Even more, they suggest that his urge toward self-reflection was not confined to the programmatic and the large-scale, and that his miniatures and monuments have more in common than one might think.

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10

Van Rij, Inge. ""There is no anachronism": Indian Dancing Girls in Ancient Carthage in Berlioz's Les Troyens". 19th-Century Music 33, n. 1 (2009): 3–24. http://dx.doi.org/10.1525/ncm.2009.33.1.003.

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Abstract Relatively early in the composition of Les Troyens Berlioz declared his intention to include a "pas d'alméées with the music and dancing exactly like the Bayadèères' ballet which I saw here sixteen or seventeen years ago." Despite Berlioz's claim that he had "gone into it" and "there is no anachronism," historical evidence would suggest that the presence of Indian dancing girls in Dido's Carthage is actually highly inauthentic and anachronistic. Indeed, Berlioz's immediate inspiration for the ballet in question was not ancient history but, rather, a group of Indian dancers and musicians who had visited Paris in 1838. An investigation of the context of the bayadèères' performances and the reception of the dancers and their music reveals that issues of authenticity and anachronism were a constant preoccupation for their French audiences, most of whom had previously encountered bayadèères only through the exoticizing lens of Western representations. Berlioz's own references to the bayadèères are examined in relation to contemporary reviews and the text of a highly self-reflexive play that was performed as a prologue and that shaped audiences' responses to the bayadèères' performances at the Thééââtre des Variéétéés in Paris. Although Berlioz is generally thought to have abandoned his intention to embody the 1838 bayadèères in Les Troyens, I argue that he actually retained aspects of his original Indian inspiration in the act IV ballet; moreover, an awareness of the impact of the bayadèères' performances on Berlioz and his contemporaries greatly informs our appreciation of the contribution of the act IV ballet to the wider imperial subtext of Les Troyens. If, rather than simply dismissing anachronism, we are willing to embrace it as a concept fundamental to Berlioz's opera, the act IV ballet——often cut in recent productions——can be newly appreciated as occupying a significant role in the historical dialectic of Les Troyens as a whole.

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11

Citron, Pierre, e Peter Bloom. "Berlioz Studies". Revue de musicologie 79, n. 2 (1993): 391. http://dx.doi.org/10.2307/946907.

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12

Fauquet, Joël-Marie, l'Association nationale Hector Berlioz e Joel-Marie Fauquet. "Cahiers Berlioz". Revue de musicologie 78, n. 2 (1992): 340. http://dx.doi.org/10.2307/946996.

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13

de Oliveira, Olivia Wahnon, e Peter Bloom. "Berlioz Studies". Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 51 (1997): 207. http://dx.doi.org/10.2307/3687194.

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14

Rushton, Julian, Hugh Macdonald, Hector Berlioz e David Charlton. "Newish Berlioz". Musical Times 140, n. 1866 (1999): 50. http://dx.doi.org/10.2307/1193489.

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15

Holoman, D. Kern. "Berlioz, Lately". 19th-Century Music 25, n. 2-3 (novembre 2001): 337–46. http://dx.doi.org/10.1525/ncm.2001.25.2-3.337.

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16

Watt, Paul. "Ernest Newman's Draft of a Berlioz Biography (1899) and its Appropriation of Emile Hennequin's Style Theory". Nineteenth-Century Music Review 10, n. 1 (giugno 2013): 151–68. http://dx.doi.org/10.1017/s1479409813000074.

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Ernest Newman (1868–1959) first proposed a biography of Berlioz in the 1890s. A schedule for its research and writing was hatched, an agreement was made with a publisher for its manufacture, and Newman promptly set to work on the project. Alas, like so many other book projects Newman commenced in the 1890s, the Berlioz biography was never completed. Even though sketches or drafts of the book do not survive, there is plenty of evidence of the methodology and structure that Newman proposed for the book, for a work-in-progress article, ‘The prose of Berlioz,’ was published in the Chord in June 1899. It is a remarkable essay for its engagement with Berlioz's prose works and for its theorizing on musical biography. I illustrate that Newman's biographical method was partly inspired by the work of Emile Hennequin (1858–93), and was an approach that Newman had previously used in some of his literary criticism. However, I argue that despite Newman's claim of Hennequin's influence, the article's wider influence came from a larger pool of writers working on style theory, including Walter Pater, Walter Raleigh and J.A. Symonds.

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17

KREGOR, JONATHAN. "Collaboration and Content in the Symphonie fantastique Transcription". Journal of Musicology 24, n. 2 (2007): 195–236. http://dx.doi.org/10.1525/jm.2007.24.2.195.

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Franz Liszt's transcription of Hector Berlioz's Symphonie fantastique has long been recognized for its innovative approach to musical reproduction——that is, its remarkable ability to recreate the sonic nuances of its model. However, the 1830s were a period of intense artistic and professional collaboration with Berlioz, and the genesis of the Symphonie fantastique transcription can thus also be interpreted as emblematic of this developing relationship. In particular, a gestural analysis of the work's content, as it can be recreated in part through Liszt's meticulous performance notation, indicates that the transcription served to reinforce a public perception of Berlioz as composer and Liszt as performer, whereby Liszt guides his audiences through Berlioz's enigmatic compositions by means of kinesic visual cues. Investigation of heretofore unknown manuscript materials suggests that this dynamic was further emphasized in Liszt's other renderings of Berlioz's orchestral works from the period. For various reasons, the transcription's inherently collaborative nature failed to impress audiences outside of Paris. As Liszt embarked in earnest upon a solo career toward the end of the decade and his concert appearances with Berlioz became less frequent, interest in the work waned on the part of both arranger and audience. Moreover, it was in the late 1830s that Liszt began adding several new works to his public repertory, especially opera fantasies, Schubert song arrangements, and weighty compositions by German composers. This decision effectively removed his earlier material——including the all-too-French Symphonie fantastique——from on-stage circulation. Indeed, when Liszt revised the transcription in the 1870s, he eliminated many of extraordinary collaborative elements found in the 1834 version, thereby disassociating it from the arena for which it was created.

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18

VAN RIJ, INGE. "Back to (the music of) the future: Aesthetics of technology in Berlioz's Euphonia and Damnation de Faust". Cambridge Opera Journal 22, n. 3 (novembre 2010): 257–300. http://dx.doi.org/10.1017/s0954586711000255.

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AbstractIn his final years, Berlioz's name became entangled in debates around Wagnerian ‘music of the future’; but Berlioz was also engaged with conceptions of the future in a much more literal sense throughout his life. An examination of texts such as Euphonia which treat futuristic settings helps us to identify three main technological tropes by which the future is characterised in Berlioz's writings: the industrialisation of space and time; the discourse of gender; and fears around agency. Applying these tropes to the contemporaneous La damnation de Faust enables a new reading of genre in Berlioz's ‘légende dramatique’, which is revealed to dramatise the dialectic of technology and gender on a meta-diegetic level. Performances of La damnation de Faust that stage it as opera or as Wagnerian Gesamtkunstwerk may blind us to the innovative aspects of the work, for these aspects are most visible when it is the orchestral ‘machine’ that is placed literally centre stage. This new reading of La damnation de Faust through the lens of Euphonia helps us to resituate Berlioz as a musician of the future in a manner that provides an alternative to the more familiar Wagnerian aesthetics.

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19

Petrova, Galina, e Lucinde Braun. "Berlioz und Russland - neue Ansätze, neue Quellen". Die Musikforschung 69, n. 3 (22 settembre 2021): 209–30. http://dx.doi.org/10.52412/mf.2016.h3.384.

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Das Thema "Berlioz und Russland" ist verschiedentlich dargestellt worden, jedoch wurde bislang die vor allem auf Berlioz' eigener Schilderung beruhende Faktenlage kaum erweitert, und bestimmte Elemente eines bis ins 19. Jahrhundert zurückreichenden Diskurses wurden unreflektiert weitergeschrieben. Deshalb wird an zwei Beispielen - der Widmungsgeschichte der "Symphonie fantastique" und den persönlichen Netzwerken, die Berlioz mit Russland verbanden - gezeigt, wie wenig erschlossen zahlreiche Aspekte der Thematik noch immer sind.

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20

Bloom, Peter. "Berlioz and Liszt ”in the Locker Room“". Studia Musicologica 54, n. 1 (1 marzo 2013): 75–86. http://dx.doi.org/10.1556/smus.54.2013.1.6.

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The closest of friends in the early eighteen-thirties, Berlioz and Liszt shared artistic aspirations (especially around the latter’s reworkings of the former’s Symphonie fantastique and its sequel, Le Retour à la vie) and personal adventures (especially around the former’s irrational passion for the Irish actress Harriet Smithson and the latter’s efforts at counsel and consolation). These matters are discussed in the context of Berlioz’s private (and I believe insensitive) announcement, in a letter to Liszt sent four days after the marriage, that his new wife had been a virgin.

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21

Eckhardt, Mária. "Berlioz' Ungarnbesuch 1846". Studia Musicologica Academiae Scientiarum Hungaricae 46, n. 1 (1 maggio 2005): 157–74. http://dx.doi.org/10.1556/smus.46.2005.1-2.11.

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Bloom, Peter. "Virtuosités de Berlioz". Romantisme 35, n. 128 (2005): 71–93. http://dx.doi.org/10.3406/roman.2005.6600.

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Didier, Béatrice. "Berlioz et Faust". Revue d'histoire littéraire de la France 104, n. 3 (2004): 561. http://dx.doi.org/10.3917/rhlf.043.0561.

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Bloom, Peter. "Virtuosités de Berlioz". Romantisme 128, n. 2 (2005): 71. http://dx.doi.org/10.3917/rom.128.0071.

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Law, J. K. "A Berlioz Bibliography". Opera Quarterly 19, n. 3 (1 luglio 2003): 490–94. http://dx.doi.org/10.1093/oq/19.3.490.

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Bloom, Peter. "Review: Berlioz Remembered". Music and Letters 83, n. 2 (1 maggio 2002): 300–305. http://dx.doi.org/10.1093/ml/83.2.300-b.

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Schmidt, Wolf Gerhard. ""verruchte Theorie" einer musikalischen "Gottheit"". Die Musikforschung 56, n. 3 (22 settembre 2021): 231–49. http://dx.doi.org/10.52412/mf.2003.h3.719.

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Im 19. Jahrhundert waren es vor allem zwei Komponisten, die sich intensiv mit Christoph Willibald Glucks Opernreform auseinander setzten: Hector Berlioz und Richard Wagner. Während dem einen die Reform - zumindest in der Theorie - schon zu weit ging, war sie dem anderen noch nicht progressiv genug. Berlioz' Urteil über Gluck erweist sich jedoch als vielschichtig. Neben Lobreden auf den "Gott des Ausdrucks" stehen kritische Bemerkungen zu dessen "verruchter Theorie", als deren legitime, wenngleich negative Umsetzung Wagners Gesamtkunstwerk erscheint. Dabei lässt sich bei Berlioz eine Trennung zwischen Theorie und Praxis feststellen. Indem Gluck hinter den eigenen Postulaten zurückbleibt, gewinnen seine Kompositionen (großenteils) paradigmatischen Charakter.

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Harper-Scott, J. P. E. "Berlioz, Love, and Béatrice et Bénédict". 19th-Century Music 39, n. 1 (2015): 3–34. http://dx.doi.org/10.1525/ncm.2015.39.1.3.

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Berlioz's final opera, Béatrice et Bénédict (1860–62) has generally been considered a light-hearted work, revelling in the simple joys of love. Yet his final development of the theme of love, which had preoccupied him at least since the Symphonie fantastique (1830), makes this opéra comique more serious than it might appear to be. Drawing on theories of the human subject by Badiou, Žižek, and Lacan, as well as on the resources of Schenkerian theory, this article invites a new attention on the ideological violence done both by conventional models of love (in this case, on the main characters in the opera) and by the language of tonality. Evaluation of the musical means by which Berlioz psychoanalyzes the characters of a masochist, Héro, and a hysteric, Béatrice, ultimately reveals a surprisingly provocative work of vivid psychological drama.

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Anger, Violaine. "Hector Berlioz, du symphoniste au dramaturge". Études Octobre, n. 10 (25 settembre 2019): 97–106. http://dx.doi.org/10.3917/etu.4264.0097.

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Les cent cinquante ans de la mort d’Hector Berlioz sont l’occasion d’une série de manifestations autour d’une œuvre qui reste à découvrir. Berlioz est l’un de nos grands compositeurs. Avec Claude Debussy, il a même eu l’honneur de figurer sur les derniers billets en franc. Il est connu et reconnu comme le musicien romantique français par excellence.

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Mello, Celina Maria Moreira de. "Berlioz, música descritiva e escrita romanesca". Aletria: Revista de Estudos de Literatura 27, n. 2 (2 ottobre 2017): 83–96. http://dx.doi.org/10.17851/2317-2096.27.2.83-96.

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Serão discutidas questões relativas a conceitos e modos de recortar objetos de pesquisa na área de Letras, suscitadas pelo projeto EST.RE.LA – Estudo das Relações entre Literatura e Arte; Berlioz Romancista? desenvolvido na Universidade Federal do Rio de Janeiro, apoiado com bolsa de produtividade do CNPq e que propõe, como provocação, um Berlioz romancista. No contexto da fraternidade das artes celebrada pelos românticos franceses, na emulação e na rivalidade, destaco a dupla persona de Hector Berlioz que se fundamenta em um exercício de criação que integra a composição de música descritiva e uma escrita romanesca. Esta leitura é complementada por alguns resultados de pesquisa de fontes realizada, em 2016, na Hemeroteca da Fundação Biblioteca Nacional, por ocasião de um estágio de capacitação.

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Hovland, Erlend. "Who’s Afraid of Berlioz?" Studia Musicologica Norvegica 45, n. 01 (31 ottobre 2019): 9–30. http://dx.doi.org/10.18261/issn.1504-2960-2019-01-03.

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Bloom, Peter, Berlioz, Hugh MacDonald e Roger Nichols. "Selected Letters of Berlioz". Notes 56, n. 2 (dicembre 1999): 407. http://dx.doi.org/10.2307/900020.

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McKee, D. "Les Troyens. Hector Berlioz". Opera Quarterly 13, n. 1 (1 gennaio 1996): 125–30. http://dx.doi.org/10.1093/oq/13.1.125.

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Rishoi, N. "Les Troyens. Hector Berlioz". Opera Quarterly 19, n. 3 (1 luglio 2003): 521–25. http://dx.doi.org/10.1093/oq/19.3.521.

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Glasow, E. T. "Les Troyens. Hector Berlioz". Opera Quarterly 19, n. 3 (1 luglio 2003): 525–27. http://dx.doi.org/10.1093/oq/19.3.525.

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36

Graeme, Roland. "Janet Baker Sings Berlioz". Opera Quarterly 7, n. 1 (1990): 225–27. http://dx.doi.org/10.1093/oq/7.1.225.

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Rowden, Clair. "French Music Since Berlioz". Musicology Australia 30, n. 1 (gennaio 2008): 135–40. http://dx.doi.org/10.1080/08145857.2008.10416749.

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38

Hannabuss, Stuart. "The Cambridge Berlioz Encyclopedia". Reference Reviews 32, n. 7/8 (17 settembre 2018): 37–38. http://dx.doi.org/10.1108/rr-06-2018-0103.

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39

Delacour, J. "JACQUES BERLIOZ (1891-1975)". Ibis 118, n. 4 (3 aprile 2008): 595–96. http://dx.doi.org/10.1111/j.1474-919x.1976.tb03528.x.

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40

Krummel, D. W. "Catalogue of the Works of Hector Berlioz . D. Kern Holoman , Hector Berlioz ." Journal of the American Musicological Society 43, n. 2 (luglio 1990): 367–75. http://dx.doi.org/10.1525/jams.1990.43.2.03a00050.

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Raz, Carmel. "Hector Berlioz’s Neurophysiological Imagination". Journal of the American Musicological Society 75, n. 1 (2022): 1–37. http://dx.doi.org/10.1525/jams.2022.75.1.1.

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Abstract (sommario):

Abstract There is, Berlioz writes in his essay “De la musique en général” (1837), “a strange agitation in my blood circulation: my arteries beat violently … a trembling overtakes my limbs and a numbness my hands and feet, while the nerves of sight and hearing are partially paralyzed.” The composer here is not, as one might think, describing the symptoms of an opium overdose, but rather the powerful effect of “good music” on his own body. Challenging our tendency to dismiss Berlioz’s musical writings as merely overheated Romantic effusions, I argue that the remarkable medical detail presented in his arguments reveals a hitherto neglected dimension of nineteenth-century engagement with the embodied effects of music. Contextualizing Berlioz’s claims within the neurophysiology of his age, and in particular the physiological psychology of Cabanis, the anatomy of Bichat, and the acoustic theories of Lamarck, I recover the medical and scientific epistemes that motivated the composer’s assertions about the power of music to effect embodied and emotional transformation—a constellation of ideas that I term his “neurophysiological imagination.” An analysis in these terms of some of Berlioz’s major compositional innovations reveals how both his writings and his music explore an explicitly neurophysiological dimension of early Romantic listening. Specifically, I propose that Berlioz repeatedly attempted both to represent and to induce an experience that was of great interest to the artists and audiences of his day: an overpowering mental and physical response to music experienced as an embodied, neurophysiological form of the sublime.

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Brittan, Francesca. "Berlioz and the Pathological Fantastic: Melancholy, Monomania, and Romantic Autobiography". 19th-Century Music 29, n. 3 (2006): 211–39. http://dx.doi.org/10.1525/ncm.2006.29.3.211.

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Abstract (sommario):

Both the literary program of Berlioz's Symphonie fantastique and his personal letters dating from the year of the work's composition are suffused with the rhetoric of illness, detailing a maladie morale characterized by melancholy, nervous "exultation," black presentiments, and a malignant idee fixe.. Often mistakenly identified as a term new to the 1830s, the idee fixe has a considerably longer history, dating from the first decade of the nineteenth century when it appeared in the writings of French psychiatrists Etienne Esquirol and Jean-Etienne Georget. Both Esquirol's early writings on insanity and his seminal 1838 treatise identify mental "fixation" as the primary symptom of monomania, the most contentious and well-known mental disease of the period, and one with far-reaching implications not only for medicine but for Romantic literature, philosophy, and autobiography. Examination of the disease's early reception reveals that, well before Berlioz, the psychiatric terminology surrounding monomania had been absorbed into popular discourse. Malignant and humorous idee fixes appeared in cartoons, diaries, and newspaper articles from the 1810s onward, and in fictional works by Hoffmann, Duras, Scribe, Balzac, and others. Here, and in essays published in musical and literary journals of the period, monomania emerged as an increasingly aestheticized malady, and the idee fixe itself as a signal, not of mental debilitation, but of creative absorption and artistic inspiration. When Berlioz figured himself as a monomaniac, both in his personal writing and his symphonic program, he was responding to a discourse of "creative aberration" permeating Romantic literary and medical culture, and to a fashionable fascination with mental pathology. Berlioz was by no means the only artist of the period to diagnose himself with the symptoms of mental fixation. Musset, Janin, and Georges Sand also described themselves in monomaniacal terms in autobiographical "confessions" permeated with references to hallucination, fixation, and emotional pathology. Indeed, we can draw clear parallels between the veiled self-referentiality of the Fantastique and the autobiographical strategies of the Romantic Confession. Berlioz's "self-sounding" resonates with a host of other confessional autobiographies of the period and reflects the collapse between inspiration and insanity, between anatomy and aesthetics, underpinning early-nineteenth-century theories of genius.

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Krause, Peter. "ZAUBER DER VERWANDLUNG". Opernwelt 65, n. 5 (2024): 46–47. http://dx.doi.org/10.5771/0030-3690-2024-5-046.

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Diagon-Jacquin, Laurence. "« Le Persée de Benvenuto Cellini » de Liszt: un manifeste artistique ?" Studia Musicologica 54, n. 4 (1 dicembre 2013): 357–66. http://dx.doi.org/10.1556/smus.54.2013.4.2.

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Abstract (sommario):

In his text Le Persée de Benvenuto Cellini Liszt is more interested in the problems of the artist in the society and of the specificities of the statuary on the music, than in Benvenuto Cellini’s statue itself. So he establishes a parallel between Cellini and Berlioz, identifying both with the mythic hero. He emphasizes “the hidden relationships between works of genius” (letter from Liszt to Berlioz). The differences and similarities between the arts are also explained. The text gives additional information concerning Liszt himself.

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Ritchey, Marianna. "Echoes of the Guillotine: Berlioz and the French Fantastic". 19th-Century Music 34, n. 2 (2010): 168–85. http://dx.doi.org/10.1525/ncm.2010.34.2.168.

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Abstract (sommario):

Abstract The fantastic, theorized as an expression of the anxieties, fears, and political beliefs of the generation of young French writers born in the decades directly following the Revolution and Terror, has long been viewed primarily as a literary genre. Observed in light of this artistic movement, Berlioz's most famous work, Symphonie fantastique, emerges as a musical manifestation of fantastic techniques, and Berlioz himself as an important contributor to the Fantastic culture that swept nineteenth-century France. Using Tzvetan Todorov's narrative theory, I identify two techniques fantastic authors exploit that are most useful in understanding Symphonie Fantastique: an intentional ambiguity of form, and a privileging of ambiguous ““thresholds”” over teleological plot resolution. In pursuing a new explanation of the symphony's strange deviations from musical norms, I highlight the many different ways the symphony has been understood and analyzed by prominent musicologists over the past 180 years. By now, musicologists have effectively demonstrated that Berlioz was not the ““incompetent genius”” (in Charles Rosen's wry formulation) he was long considered to be; however, the fact that there is still disagreement and debate over Symphonie Fantastique's deviations from normative form and content, as well as what those deviations might mean, demonstrates the highly fraught signifying structure of the music. Locating the symphony's use of fantastic tropes and techniques demonstrates that many of its strangest aspects——those ““failures”” that have been the subject of musicological debate since 1835——come into focus when we take its title seriously and regard the work as a symphony in the fantastic genre.

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Altenmüller, Dirk-Matthias, e Christian Berger. "Hector Berlioz’ Symphonie fantastico-épileptique". Archiv für Musikwissenschaft 79, n. 2 (2022): 122. http://dx.doi.org/10.25162/afmw-2022-0007.

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James, D. Geraint. "Louis Hector Berlioz (1803–69)". Journal of Medical Biography 14, n. 3 (agosto 2006): 135. http://dx.doi.org/10.1258/j.jmb.2006.06-22.

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48

Law, J. K. "The Cambridge Companion to Berlioz". Opera Quarterly 19, n. 3 (1 luglio 2003): 509–11. http://dx.doi.org/10.1093/oq/19.3.509.

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49

Glasow, E. T. "Les nuits d'ete. Hector Berlioz". Opera Quarterly 19, n. 3 (1 luglio 2003): 612–15. http://dx.doi.org/10.1093/oq/19.3.612.

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50

O'Neill, D. "Hector Berlioz, Étudiant de Médicine". Journal of the Royal Society of Medicine 82, n. 9 (settembre 1989): 548–51. http://dx.doi.org/10.1177/014107688908200915.

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