Berlioz the Critic by Rushton, Julian; Nichols, Roger; Nichols, Roger;

Selected Writings from 1837 to 1850

Series: Eastman Studies in Music; 201;

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Product details:

Publisher Boydell & Brewer Ltd
Date of Publication 10 June 2025
Number of Volumes Print PDF

ISBN 9781648250736
Binding Hardback
No. of pages314 pages
Size 228.6x152.4 mm
Weight 666 g
Language English

Short description:

Hector Berlioz combined writing music with lively and informed music criticism. This collection of articles, engagingly translated by Roger Nichols, covers the middle years of his critical career.

Long description:

"Hector Berlioz combined writing music with lively and informed music criticism. This collection of articles, engagingly translated by Roger Nichols, covers the middle years of his critical career. PRESTO MUSIC BOOK OF THE MONTH JUNE 2025 Berlioz's music criticism from 1837 to 1850 covers a period druing which he composed some of his finest works, and travelled abroad to perform them before appreciative audiences in Germany, Russia, and England. Roger Nichols has chosen and translated extracts from fifty-eight articles of particular interest, with commentary and notes identifying people mentioned. Berlioz scholars Peter Bloom and Julian Rushton provide an informative introduction and a comprehensive editorial apparatus. In the selected articles Berlioz discusses Paris performances of early and modern music, including new operas and revivals, and concerts at the Paris Conservatoire. He comments freely but with understanding on conductors, singers and instrumentalists. The essays demonstrate the composer's concern with innovation in the design of musical instruments and assess the quality of performing venues. Berlioz writes on the musical life of London, France, and Germany, most entertainingly about the inauguration of statues of Beethoven and Rossini. The selection is framed by major articles on ""Imitation in Music"" and on Gluck's opera Alceste."

Translator's Preface and Acknowledgments Sources and Abbreviations Used in the Text and Notes Editor's Note Introduction by Peter Bloom The Articles: 1. On Imitation in Music (I) 2. On Imitation in Music (II) 3. Ninth Conservatoire Concert. Beethoven's Eroica and Taste in General 4. Esmeralda: on Fair Artistic Judgement 5. Paris OpÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ra: Revival of Le SiÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ ̈ge de Corinthe 6. Third Conservatoire Concert; the Critic's Life 7. Le nozze de Figaro; Benefit Performance for Lablache 8. Second Concert of the Gazette musicale. Pauline Garcia; Gluck's OrphÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©e 9. Adolphe Nourrit 10. Musical Instruments; Exhibition of Industrial Products 11. Premiere of Lucie de Lammermoor 12. Letter to Liszt: Music in Paris and London 13. Kastner's Treatise on Instrumentation 14. Miscellanea; Pauline Viardot at the ThÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ¢tre-Italien 15. First Conservatoire Concert; Gluck, his Critics, and Early Music (I) 16. First Conservatoire Concert; Early Music (II) 17. Paris OpÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ra: Revival of Fernand Cortez; Liszt and Batta in London 18. Third Conservatoire Concert; Haydn, Rossini, Viardot 19. Paris OpÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ra: Revival of Don Giovanni I 20. Liszt's Concerts 21. Paris OpÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ra: Revival of Don Giovanni II 22. Liszt's Concert at the Conservatoire 23. Poultier's Debut in Guillaume Tell 24. The Saint-Denis Organ 25. Fourth Conservatoire Concert 26. Cherubini 27. Sixth Conservatoire Concert 28. Thalberg's Concerts 29. German Theatre; First Performance of Jessonda 30. Castor et Pollux; the Score 31. ThÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ¢tre de l'OpÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ra-Comique: Revival of Le DÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©serteur 32. M. Berlioz's Concert at the ThÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ¢tre-Italien 33. ThÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ¢tre de l'OdÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©on. Premiere of Mendelssohn's Antigone 34. Large-scale Concert at the OpÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ra: the 'Droit des pauvres' 35. Michel de Glinka 36. Conservatoire Concert. Spontini: La Vestale 37. Cherubini's Messe du Sacre 38. Music Festival in Bonn; the Beethoven Statue 39. New Method of Instrumental Practice 40. Inauguration of Rossini's Statue 41. ThÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ¢tre de l'OpÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ra-Comique: Revival of ZÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©mire et Azor 42. On the Harmonium 43. Paris OpÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ra. Premiere of Rossini: Robert the Bruce 44. Adolphe Sax's New Concert Hall 45. To M. Friedland; Musical Life in London 46. Opening of the ThÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ¢tre de la Nation 47. The OpÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ra; Mme de Lagrange's Debut; Otello 48. Distribution of Prizes at the Conservatoire (the Current State of French Music) 49. ThÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ¢tre de l'OpÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ra-Comique; Premiere of Ambroise Thomas: Le CaÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ ̄d 50. Second SÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ance of the SociÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©tÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ© des Concerts; Beethoven, Haydn, and others 51. Third SÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ance of the SociÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©tÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ© des Concerts; Scene in the rue BergÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ ̈re 52. Sixth SÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©ance of the SociÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ©tÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ© des Concerts; a Composer's Rights 53. Musical Instruments and the 'Droit des pauvres' 54. The Death of Johann Strauss 55. The Death of Chopin 56. A Method of Telephony by M. Sudre 57. Niedermeyer's Messe solennelle 58. Gluck's Alceste Index of Names