Berlioz, Hector (1803 - 69)

[ferneyhoughgeliebte]

My favourite orchestral composer working in the 1830s - '60s: an astonishing (and genuinely fantastic) aural imagination. Still underestimated as a great composer, and long overdue a Thread to himself here.

https://www.youtube.com/watch?v=2FIWP3r0KLM

I've found this site a useful resource for dipping into occasionally:

http://www.hberlioz.com/

[teamsaint]

Berlioz, Hector ( 1803-1869)

My biggest musical disappointment of last year was missing the JEG R and J prom.

Your wisest thoughts, most acute observations, and top recording recommendations here please.

Edit: oh for goodness sake.....
Cheers Ferney.

[cloughie]

My favourite orchestral composer working in the 1830s - '60s: an astonishing (and genuinely fantastic) aural imagination. Still underestimated as a great composer, and long overdue a Thread to himself here.

https://www.youtube.com/watch?v=2FIWP3r0KLM

I've found this site a useful resource for dipping into occasionally:

http://www.hberlioz.com/

Yes ferney, I've always thought way ahead of his time - the Fantastique lives totally up to its name - five wonderfully contrasting movements - the Bal needs the cornet (Martinon or Dohnanyi) and the Hell's bell a proper bell sound! The scene aux champs is sheer beauty. All played with a good Gallic sound - PCO or PLO? I also think Harold in Italy is an under-loved work - when done well can have an eerie quality. Love his overtures too, particlarly Francs Juges and King Lear.
So

[Bryn]

I queued over night for the Colin Davis Proms performance of The Trojans (in English) back in the '60s. Well worth it, though one of my fellow queuers suffered a grand mal in the early hours. Poor chap had to miss the performance. He had basically recovered but the doctors said no. He missed out on a great event. Then later there was B&B. That too was a great night.

[Richard Barrett]

My (late!) introduction to Berlioz was through JEG's recording of the Symphonie, which still defines the Berlioz sound for me. I also love his recording with Gérard Caussé of Harold en Italie although I've never managed to enjoy Roméo either in his recording or any other. Damnation de Faust is another work I have a lot of time for, I would think that's due for a HIPP treatment one of these days.

His Memoirs are an inspiring read too, the hair-raising first half at least.

[Pianoman]

I have a reasonably comprehensive cd collection of Berlioz works, but my most oft-played dvd these days is the superb Chatelet production of Les Troyens, directed by Yannis Kokkos and conducted by Gardiner with first-rate cast and period instruments, including some traced to private collections.

[teamsaint]

I might settle down for a watch of this later in the week.

https://www.youtube.com/watch?v=yrJUyo_Xb7o

Faust: Kaufman/ Susan Graham/Pappano


Edit... started watching, and don't want to go to bed now.......

[BBMmk2]

Two favourite Berlioz recording for me are:

Te Deum and Symphonie Funebre et Triomphale, with Sir Colin, I think on Phillips with the LSO etc. Incidentally I have transcribed the Symphonie for concert band.

[aeolium]

I might settle down for a watch of this later in the week.

https://www.youtube.com/watch?v=yrJUyo_Xb7o

Faust: Kaufman/ Susan Graham/Pappano

Thanks for that, ts - I'll have a look later. La Damnation de Faust is my favourite Berlioz work, with Benvenuto Cellini not far behind. I would like to see a production of Les Troyens but haven't been able to get to one yet, and don't really find listening to this massive work on broadcasts or recordings satisfactory. Perhaps WNO could do a co-production with some company for the Berlioz 150 anniversary coming up in a couple of years.

[rauschwerk]

Berlioz has had some stick over the years from Chopin, Ravel, Debussy Stravinsky and others for his 'faulty' harmonies. Charles Rosen defends Berlioz at some length in The Romantic Generation, showing how he bends the 'rules' for expressive purposes, just as many other composers have done. The first time I heard Les nuits d'été I remember being perturbed by a phrase in L'absence when I first heard it, though without knowing why (I now know that it has to do with Berlioz's unconventional bass line and his choice of chord inversions).

Like many (I suppose) I started with Roman Carnival and Symphonie Fantastique in my teens and it took me a long time to understand the middle movement of the latter! Soon after my 21st birthday, I found myself in the chorus singing The Trojans under Colin Davis at the RFH. It was one of the great musical experiences of my life, and I have been an unequivocal Berlioz admirer ever since.

[greenilex]

In former times when English teachers were allowed some latitude I often used SF as a trigger for writing. Enormously effective.

[BBMmk2]

It's a pity that his SF is so popular, when there are other works that he wrote, which are equally as good.

[Eine Alpensinfonie]

Incidentally I have transcribed the Symphonie for concert band.

???



I thought Berlioz himself had done this himself, in that it was written in this way for the outdoor premiere, with strings being added later for concert use.

[BBMmk2]

EA, the Symphonie Funebre et Triomphale

[ferneyhoughgeliebte]

EA, the Symphonie Funebre et Triomphale

I'm as puzzled as Alpie, Bbm - the S F & T is a work for concert band (woodwinds, brass, and perks): what have you "transcribed"?