Sir Donald Tovey Essays In Musical Analysis

Berlioz responded that he knew too little about the viola, and that Paganini himself would be better able to write the brilliant piece he wanted, but Paganini persisted, adding that he was "too unwell at present to compose," and Berlioz took on the assignment.

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s finest works" both of them among the four called symphonies--though he never performed either of them, and actually heard only one of them.

These two remarkable musicians first met after a concert of Berlioz?

s poem have penetrated the impregnable fortress of Berlioz? s "there let him lay." There, then, let Berlioz lie; the whitest liar since Cyrano de Bergerac.

(This sentence is a completely Berliozian enharmonic modulation.) [From , and in fact based on his own experiences in Italy. s time is the avenger of social injustice, the rebel against the City, who resorts to nature for healing the wounds of social man. A portrait of the hero, against a background of extraordinarily evocative and varied nature-painting.

The background I formed from my recollections of my wanderings in the Abruzzi, introducing the viola as a sort of melancholy dreamer, in the style of Byron? s vocabulary "burnt" means carefully preserved, so that an admiring posterity can discover . IV), expresses the greatest admiration for Berlioz and for the work, but begins by debunking the connection with Byron: . As to the brigands, Byron has described the varieties of costume in a crowd of mixed nationality consisting undoubtedly of potential brigands; but the passage is not in the Italian cantos, and Berlioz tells us that his work concerns Harold in Italy. s ball was not an orgy of brigands, nor was it interrupted by a march of pilgrims singing their evening prayer.

But among them I cannot find any that concern Berlioz or this symphony, except for the jejune value of the discovery that no definite elements of Byron? Many picturesque things are described in famous stanzas of Childe Harold, but nothing remotely resembling Berlioz? Nor is there anything to correspond to an invocation of the ocean, except a multitude of grammatical solecisms equivalent to Byron?Berlioz described him as "a Titan among the giants," and as "that great artist who exercised such a happy influence upon my destiny.?It is to Paganini that we owe the existence of two of Berlioz?s first performance of this work, conducted by Hans Kindler on November 21, 1948; Roberto D?az was the soloist in the most recent ones, with Richard Hickox conducting, on May 20-22, 1993.The instrument, now in the collection of the Corcoran Gallery of Art in Washington, was heard in all the prior performances of the work by the National Symphony Orchestra listed in the opening paragraph of this note, for which occasions it was lent to the respective soloists, both of whom served as the orchestra? , composed early in 1807, was given its first performance in March of that year at Prince Lobkowitz's residence in Vienna.Berlioz wrote that he improvised this movement "in a couple of hours one evening over my fire" and then spent more than six years brushing it up, even though "it was always completely successful from the moment of its first performance." It was encored at the work? Convent bells are not represented here by real bells or chimes, but, as Berlioz noted, are ingeniously "suggested by two harp-notes doubled by the flutes, oboes and horns." III. There is no introduction; the orgy bursts out in full force, relenting only momentarily for brief review and rejection of material from the earlier movements.s premiere, in fact, just as the corresponding-and strikingly similar? SERENADE OF AN ABRUZZI MOUNTAINEER TO HIS MISTRESS. s scherzo, oboe and piccolo represent pifferi (rustic oboes of varying ranges), while the strings provide musette effects. "Whatever may have induced Harold to enroll himself among the brigands," says Tovey, "it is a moment of genuine pathos as well as genuine music when he parts with his very identity in the last broken reminiscence of the main theme, now heard faintly in those chaste clarinets, echoed with sobs, and dying away slowly at the beginning of the fourth bar." Berlioz himself described the remainder of the movement as that furious orgy wherein wine, blood, joy, all combined, parade their intoxication-where the rhythm sometimes seems to stumble along, sometimes to rush on in fury, and the brass seems to vomit forth curses and to answer prayer with blasphemies; where they laugh, drink, fight, destroy, violate, and utterly run riot.Hans Kindler conducted the National Symphony Orchestra's first performance of the Overture, on February 11, 1934; Bruno Weil conducted the most recent ones, on September 9 and 10, 2004.The score, dedicated to Collin, calls for pairs of flutes, oboes, clarinets, bassoons, horns and trumpets, with timpani and strings. ________________________________________________ Gaius Marcius, the hero of Corioli in the fifth century B.

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