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Updated: June 15, 2025
His choral piece was insignificant and remained a dead letter. Berlioz took this lost effect and used it in his Tuba Mirum. However, it must be confessed that this effect does not come up to expectations.
Berlioz showed clearly in Les Troyens his intention of approaching Gluck, while Wagner freely avowed his indebtedness to Weber, and particularly to the score of Euryanthe. He might have added that he owed something to Marschner, but he never spoke of that. The more we study the works of these two men of genius, the more we are impressed by the tremendous difference between them.
On the morning after her second performance, she was seated in her hotel on the Boulevard des Italiens, reading the feuilletons of Berlioz and Fiorentino with a kind of childish pleasure, unconscious that she was the absorbing theme of Paris talk.
Berlioz, in his essay on Music, after referring to the story of Alexander the Great, who fell into a delirium at the accents of Timotheus, and the story of the Danish King Eric, "whom certain songs made so furious that he killed some of his best servants," dwells on the inconsistency of Rousseau, who, while ridiculing the accounts of the wonders worked by ancient music, nevertheless, "seems in other places to give them enough credence to place that ancient art, which we hardly know at all, and which he himself knew no better than the rest of us, far above the art of our own day."
Here, he caused "Lohengrin" to be produced, and had "Der Fliegende Holländer" and "Tannhäuser," as well as operas of Berlioz and Schumann, revived. It was while he was in Weimar that he formed a relationship with the Princess Sayn-Wittgenstein. In 1859 he went to Rome, where he remained till 1870. In 1866 Pius IX made him an Abbé.
Something of the same sharpness and sheerness was attained by Berlioz, if not precisely by their means, at least to a degree no less remarkable than theirs. He attained it through the nakedness of his melodic line. The music of the "Requiem" is almost entirely a singularly powerful and characteristic line. It is practically unsupported.
Wagner himself did not realise the intensity of emotion which she roused in Berlioz, and how this feeling impregnated the music of the Damnation, of Roméo, and of Les Troyens. To be writing in the presence of Nature herself must be splendid. It is an enjoyment which I am denied. Beautiful landscapes, lofty peaks, or great stretches of sea, absorb me instead of evoking ideas in me.
On February 24th, 1871, the Société nationale de Musique was instituted to propagate the works of French composers; and in 1873 the Concerts de l'Association artistique were started under M. Colonne's direction; and these concerts, besides making people acquainted with the classic composers of symphonies and the masters of the young French school, were especially devoted to the honouring of Berlioz, whose triumph reached its summit about 1880.
"In order," says Berlioz, "to properly produce such a work as 'Les Trojans, I must be absolute master of the theatre, as of the orchestra in directing a symphony. I must have the good-will of all, be obeyed by all, from prima donna to scene-shifter. A lyrical theatre, as I conceive it, is a great instrument of music, which, if I am to play, must be placed unreservedly in my hands."
There, the name of Camille Saint-Saëns stands for the French classical spirit, and is thought worthiest to represent us in music from the time of Berlioz until the appearance of the young school of César Franck though Franck himself is as yet little known in Germany.
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