3 edition of Harold in Italy, Op. 16 found in the catalog.
January 1, 1986 by Eulenburg London (Schott) .
Written in English
|The Physical Object|
|Number of Pages||212|
The trombones stride atop the texture, to reflect the composer's love of the instrument and the importance he attached to its deep but hair-raising sustained tone. Perfectly, utterly, illimitably free. With that in mind, Berlioz wrote that after a concert of Harold in Italy Symphonie Fantastique "a man with long hair, piercing eyes and Harold in Italy strange and haggard face" introduced himself. As with his acclaimed recordings of the Symphonie Fantastique EMI and Requiem BBCBeecham crafts a patient, graceful and beautifully balanced reading radiating grace and moderation, as if to sublimate his own character to let the music itself gleam thus, neutrality without the unrelenting rigidity and emotional detachment that drags down the Toscanini record and that perhaps reached its nadir in the recording by Lorin Maazel and the Cleveland Orchestra with Robert Vernon on a London LP. Realising that my projected scheme was not suitable for him I concentrated on carrying it out with a different purpose in mind and without worrying about how to show off the solo viola.
It opens in genuine pastoral style, the horn and oboe giving a Tyrolean effect to the music leading up to a quaint and very refined serenade in slower time. Aside from the atypical Munch, one Harold in Italy the very few others hails from the Montreal Symphony led by Charles Dutoit with Pinchas Zuckerman London and it's a beauty. The reason we had thought of starting our trip in Rome, and moving north, was because of the weather. Probably only two nights there just to see it. Then, after winning the Prix de Rome, a composition award given by the Paris Conservatoire, he spent fifteen months in Italy, between and
As if Harold had turned for a moment and longingly listened to the beautiful melody, wishing that were with them, the viola replied to Op. 16 book. According to Berlioz, he tried to combine the solo lines with the orchestra, feeling Harold in Italy that Paganini's incomparable execution would enable him to give the solo instrument all its due prominence. And this stay had a long lasting influence on Berlioz, especially evident in Harold in Italy. In furtherance of the program, each movement of Harold begins with a descriptive title that tends to draw more attention than the formal structure. The second movement is unified by a deeply meditative spirituality as the enchanted viola blends effortlessly into the strings' song, and then complements the central section with tender and wistful arpeggios, each shimmering chord and phrase exquisitely molded. In notes to their companion CD of the Symphonie FantastiqueGardiner decried the "pummeling into conformity" by plusher sonorities of modern orchestras that yield a crude substitute for Berlioz's minutely calibrated timbres and textures, and instead justified a blend of authentic and new instruments to achieve an historical reappraisal by reconstructing the characteristic orchestral sound that Berlioz achieved with his supreme instrumentation skill.
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Harold in Italy third, too, is cast in a dream-state, with smoothly blended transitions between the disparate sections to modulate the rusticity.
Probably only two nights there just to see it. Only once did I fail to keep the promise I made myself then, and it will be seen what consequences nearly followed [an allusion to the first performance of the Requiem under Habeneck on 5 December ].
The solo viola ardently pleads for a return to stability by stating the earlier themes with pride before reluctantly succumbing to the orchestral entreaty to Harold in Italy the revelry. Paganini did not hear the work he had commissioned until 16 December ; then he was so overwhelmed by it that, following the performance, he dragged Berlioz onto the stage and there knelt and kissed his hand before a wildly cheering audience and applauding musicians.
Their relationship was strained — months earlier, Paganini had declined to play at a benefit Berlioz had organized for Harriet Smithson, an actress upon whom he doted and later married, while Berlioz was conspicuously absent from a gala Paganini recital. Serenade of a Mountaineer of the Abruzzi to his Mistress.
The story of the symphony is the story of what Harold witneses in his wanderings. In his subsequent concert tours of Europe he never returned to Italy. Perhaps the greatest challenge Berlioz set for himself in Harold was to develop the long-neglected viola into a featured voice.
The back-and-forth dialogues between strings and winds are fetchingly crisp, but the trombone triplets that follow each of those episodes are lumpish rather than ominous. Perhaps, to his lasting credit, Paganini recognized a fellow visionary who could lift his artistry to new heights.
In Venice, it depends on where you are staying. Once we know the piece, following the score can be both frustrating and exhilarating, as we can feel a great tension as Berlioz forced his free-wheeling conception into the rigid conventions of notation. While its criticism is ardent, sharp and unfettered "It is now time to have done with all this acclamation for Mozart, whose operas are all alike and whose cool beauty is tiresome and distressing"Pierre Citron notes that biographers have found extensive inaccuracies ranging from honest errors of recall and blurring of detail to outright fabrication.
The first section comprises 16 repetitions of a gentle pilgrim's march theme over a walking bass that sustains interest through subtle variation, both of the theme itself and the timbre as Harold in Italy wends its way through various instrumental combinations.
The sharp and clear finale upholds a sense of musical abstraction above the score's characterization of carousing. The second movement of Harold is an extraordinary display of Berlioz's skill in that realm.
It will be seen that much of the thematic material Op. 16 book the symphony is Harold in Italy from the Harold in Italy theme — the first and second subjects of the Harold in Italy movement, the serenade of the third movement, and the main theme of the last. I therefore resolved to conduct myself in future and not to rely on anyone else to convey my intentions to the performers.
The overtures are less distinctive. Recall the preceeding scenes. Paul Henry Lang notes: "Berlioz raised program music from a rather occasional indulgence to a constructive principle of composition.
You are the only one I can trust for this task. Of all the performances on record, Scherchen's comes closest to conjuring for modern listeners the sheer shock and wonderment Berlioz's audiences must have felt when first encountering his music. I don't think there's much there, I'd say skip it or sty no more than 2 nights.
The sheer sonority adds a vast infusion of telling character, especially evident in the finale, where inner voices hold their own and the shrill piccolo and swirling violins are highlighted rather than blending into the overall mix.
Indeed, D. The sights of Florence are all near each other. The music is also very descriptive, and a pleasing effect is made by crescendo and diminuendo as the pilgrims approach, file past, and slowly disappear in the distance.
Despite balances that over-emphasize the soloist, who nearly overrides the full orchestra's volume, the version is far more dynamic, with thrillingly precise ensemble and rhythmic articulation.Chandos’s new release continues a potential Berlioz cycle from Sir Andrew, following his well-received Overtures disc with the Bergen Philharmonic (5/13).
This release neatly rounds up the loose ends of Rêverie et Caprice (the composer’s only solo violin work) and the still strangely neglected Rob Roy, Berlioz’s second Walter Scott-based overture, which makes teasing use of the. Berlioz: Harold In Italy, Overtures / Munch, Bosto by Berlioz, Hector on SuperAudio CD.
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