Berlioz

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Hector Berlioz Eleanor Holmes Rachel HolmesBiblio.com

Autobiography of Hector Berlioz

BERLIOZ, Hector 1803-1869Biblio.com

Autograph musical sketchleaf from the composer's opera Benvenuto Cellini

393097 measures notated in black ink on one side of the leaf. Several notes crossed out and a final passage rewritten. 1 leaf. Oblong folio 268 x ca. 170 mm. A first draft of a polyphonic theme. Identified in German in contemporary manuscript at head: "Handschrift von Hector Berlioz Erste Skizze. Benvenuto Cellini." Some wear and browning; slightly creased at folds; lower edge unevenly trimmed. The present manuscript not recorded in Holoman. Benvenuto Cellini an opéra semi-seria in two acts to a libretto by Léon de Wailly and Auguste Barbier assisted by Alfred de Vigny was based on the memoirs of Benvenuto Cellini. Set in 16th century Rome during the papacy of Clement VII the work premiered in Paris on 10 September 1838 at the Opéra and was produced in a revised version in Weimar at the Grossherzogliches Hoftheater on 20 March 1852 and with further revision in three acts on 17 November 1852. "Whether it originated as a serious or a comic opera the result in all its many versions is a compound a characteristic blend of idealism and farce grandeur and wit breadth and vivacity. Berlioz poured into Benvenuto Cellini every drop of invention and feeling at his command in a torrent of notes that make up a long and very lively opera and its heterogeneity so baffling to Parisians in 1838 and Londoners in 1853 is one of its main virtues." Macdonald: Berlioz p. 106. "Berlioz stands as the leading musician of his age in a country France whose principal artistic endeavour was then literary in an art music whose principal pioneers were then German. In many senses the Romantic movement found its fullest embodiment in him yet he had deep Classical roots and stood apart from many manifestations of that movement. His life presents the archetypal tragic struggle of new ideas for acceptance to which he gave his full exertions as composer critic and conductor. And though there were many who perceived greatness in his music from the beginning his genius only came to full recognition in the 20th century. . In Berlioz's own words Benvenuto Cellini 'contains a variety of ideas an energy and exuberance and a brilliance of colour such as I may perhaps never find again.' " Hugh Macdonald in Grove Music Online While musical quotations in Berlioz's hand are not rare his sketchleaves are very rare to the market; we have located only one example at auction in over 30 years. unknown

J & J Lubrano Music Antiquarians LLC · États-Unis8 625,00 $US≈ 7 297,61 €

BERLIOZ, Hector 1803-1869Biblio.com

Autograph letter signed "H. Berlioz" regarding his article on Dmitri Bortnyansky

354342 pp. of a bifolium. Octavo. Dated "31 Juillet" no year. To an unidentified male correspondent. On lined paper. In French with translation. Berlioz apologizes for not being able to edit his article on Bortnyansky with which he hopes his correspondent will be satisfied. "The fragment of musical criticism which I wanted to add to the item on Bortnianski is in the hands of Mr. M. Levy's printer who is at present bringing out a book which contains this article. It is impossible for me - since the printer is not in Paris - to rework my manuscript. Therefore be good enough to be satisfied with the Russian article; it is accurate on the whole and it would be difficult for me to redo a study on Bortnianski and Emperor of Russia's singers that is already done." The composer/critic goes on say that he would be happy for extracts of the article to appear in L'Illustration and in a postscript asks his correspondent to send him a copy of the periodical in which his article appears. Slightly worn; creased at folds and very slightly overall. Dmitri Stepanovich Bortnyansky 1751-1825 was a Ukrainian singer composer and music director active in Russia. "During the 19th century Bortnyansky choral concertos and hymns gained popularity across Western Europe; some copies of concertos preserved in the library of the Hofkapelle in Vienna date from as early as 1780. Berlioz who heard the concertos in Russia in the 1840s praised the 'incredible freedom' of their approach to choral sonority Les soirées de l'orchestre Paris 1852 and included Bortnyansky's music in several of his own concerts in Paris." Marika Kuzma in Grove Music Online "Berlioz stands as the leading musician of his age in a country-France-whose principal artistic endeavour was then literary and in an art-music-whose principal pioneers were then German. In many senses the Romantic movement found its fullest embodiment in him yet he had deep Classical roots and stood apart from many manifestations of that movement. His life presents the archetypal tragic struggle of new ideas for acceptance to which he gave his full exertions as composer critic and conductor. And though there were many who perceived greatness in his music from the beginning his genius only came to full recognition in the 20th century." "Berlioz's views were presented regularly to readers of the Paris press . He published three collections of criticism: Les soirées de l'orchestre 1852 Les grotesques de la musique 1859 and A travers chants 1862. In his feuilletons he wrote of new operas and singers .; his opinion on momentous occasions was of crucial interest for example at the première of Le prophète in 1849. He reviewed most of the concerts of the Société des Concerts; he wrote of new instruments and musical gadgets of his own impressions of music abroad and of important musicians visiting France; he wrote biographical notices of Gluck Beethoven Spontini Méhul and himself; he wrote fiction and fantasy often with a critical purpose; he wrote serialized treatises on orchestration and conducting. There are in short few facets of musical practice of the time untouched in his feuilletons . In general Berlioz's opinions are trenchant and clearly expressed." Hugh Macdonald in Grove Music Online. unknown

J & J Lubrano Music Antiquarians LLC · États-Unis2 875,00 $US≈ 2 432,54 €

BERLIOZ Hector 1803 1869ABAA

232892 pp. of a bifolium. Octavo. Dated ca. late October 1864-1865. In French with translation. An important letter in which Berlioz includes information for the first playbill of a projected concert performance of excerpts from his grand opera Les Troyens. He lists the names and addresses of the singers who are to appear: Mme. Anne Charton-Demeur Mlle. Palmyre Wertheimber Mr. Jules Montjauze Mr. Louise-Ã‰mile Wartel Mr. PÃ©ront Mr. Legrand and Mlle. Estagel. He also mentions a Mr. Prosper Bagier likely the director of the ThÃ©Ã¢tre-Italien in Paris. Finally he includes a number of special woodwind and percussion instruments that must be added to the orchestra. "Here are the addresses and a short agenda. You will find the last five artists at the ThÃ©Ã¢tre Lyrique on evenings when they play Violetta. You will include the names of the artists only later in order not to upset Mr. Bagier." Slightly worn and stained; creased at folds. Berlioz was the leading French composer conductor and critic of his age. "In many senses the Romantic movement found its fullest embodiment in him yet he had deep Classical roots and stood apart from many manifestations of that movement. His life presents the archetypal tragic struggle of new ideas for acceptance. and though there were many who perceived greatness in his music from the beginning his genius only came to full recognition in the 20th century." Hugh Macdonald in Grove Music Online. Although Berlioz finished Les Troyens in 1858 it was not performed in its complete form until years after his death in 1890. The premiÃ¨re of Acts 3-5 which included several of the singers mentioned in this letter occurred at the ThÃ©Ã¢tre Lyrique in Paris on November 4 1863. The performance mentioned in this letter may have taken place in late 1864 or 1865. "Violetta" i.e. the French version of Verdi's La Traviata enjoyed 102 performances at the ThÃ©atre Lyrique between October 27 1864 and 1865. The intended recipient of this letter was perhaps Georges Hainl 1807-1873 conductor of the Paris OpÃ©ra and the SociÃ©tÃ© des Concerts du Conservatoire from 1863 until 1872. unknown books

J & J Lubrano Music Antiquarians LLC · États-Unis4 620,00 $US≈ 3 908,98 €

BERLIOZ Hector 1803 1869ABAA

Autograph letter signed "H. Berlioz" regarding his article on Dmitri Bortnyansky

354342 pp. of a bifolium. Octavo. Dated "31 Juillet" no year. To an unidentified male correspondent. On lined paper. In French with translation. Berlioz apologizes for not being able to edit his article on Bortnyansky with which he hopes his correspondent will be satisfied. "The fragment of musical criticism which I wanted to add to the item on Bortnianski is in the hands of Mr. M. Levy's printer who is at present bringing out a book which contains this article. It is impossible for me - since the printer is not in Paris - to rework my manuscript. Therefore be good enough to be satisfied with the Russian article; it is accurate on the whole and it would be difficult for me to redo a study on Bortnianski and Emperor of Russia's singers that is already done." The composer/critic goes on say that he would be happy for extracts of the article to appear in L'Illustration and in a postscript asks his correspondent to send him a copy of the periodical in which his article appears. Slightly worn; creased at folds and very slightly overall. Dmitri Stepanovich Bortnyansky 1751-1825 was a Ukrainian singer composer and music director active in Russia. "During the 19th century Bortnyansky choral concertos and hymns gained popularity across Western Europe; some copies of concertos preserved in the library of the Hofkapelle in Vienna date from as early as 1780. Berlioz who heard the concertos in Russia in the 1840s praised the 'incredible freedom' of their approach to choral sonority Les soirÃ©es de l'orchestre Paris 1852 and included Bortnyansky's music in several of his own concerts in Paris." Marika Kuzma in Grove Music Online "Berlioz stands as the leading musician of his age in a country-France-whose principal artistic endeavour was then literary and in an art-music-whose principal pioneers were then German. In many senses the Romantic movement found its fullest embodiment in him yet he had deep Classical roots and stood apart from many manifestations of that movement. His life presents the archetypal tragic struggle of new ideas for acceptance to which he gave his full exertions as composer critic and conductor. And though there were many who perceived greatness in his music from the beginning his genius only came to full recognition in the 20th century." "Berlioz's views were presented regularly to readers of the Paris press . He published three collections of criticism: Les soirÃ©es de l'orchestre 1852 Les grotesques de la musique 1859 and A travers chants 1862. In his feuilletons he wrote of new operas and singers .; his opinion on momentous occasions was of crucial interest for example at the premiÃ¨re of Le prophÃ¨te in 1849. He reviewed most of the concerts of the SociÃ©tÃ© des Concerts; he wrote of new instruments and musical gadgets of his own impressions of music abroad and of important musicians visiting France; he wrote biographical notices of Gluck Beethoven Spontini MÃ©hul and himself; he wrote fiction and fantasy often with a critical purpose; he wrote serialized treatises on orchestration and conducting. There are in short few facets of musical practice of the time untouched in his feuilletons . In general Berlioz's opinions are trenchant and clearly expressed." Hugh Macdonald in Grove Music Online. unknown books

J & J Lubrano Music Antiquarians LLC · États-Unis3 135,00 $US≈ 2 652,52 €

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