Music and Fantasy in the Age of Berlioz

In The Cambridge Companion to Fantasy Literature, 91–101. Butler, Joseph. L'Analogie de la religion ... Berlioz. Volume 1: 1803–1832, The Making of an Artist. Berkeley and Los Angeles: University of California Press, 2000. Berlioz.

Author: Francesca Brittan

Publisher: Cambridge University Press

ISBN: 1108326358

Category: Music


View: 389

The centrality of fantasy to French literary culture has long been accepted by critics, but the sonorous dimensions of the mode and its wider implications for musical production have gone largely unexplored. In this book, Francesca Brittan invites us to listen to fantasy, attending both to literary descriptions of sound in otherworldly narratives, and to the wave of 'fantastique' musical works published in France through the middle decades of the nineteenth century, including Berlioz's 1830 Symphonie fantastique, and pieces by Liszt, Adam, Meyerbeer, and others. Following the musico-literary aesthetics of E. T. A. Hoffmann, they allowed waking and dreaming, reality and unreality to converge, yoking fairy sound to insect song, demonic noise to colonial 'babbling', and divine music to the strains of water and wind. Fantastic soundworlds disrupted France's native tradition of marvellous illusion, replacing it with a magical materialism inextricable from republican activism, theological heterodoxy, and the advent of 'radical' romanticism.

Music and Fantasy in the Age of Berlioz

An exploration of fantastic soundworlds in nineteenth-century France, providing a fresh aesthetic and compositional context for Berlioz and others.

Author: Francesca Brittan

Publisher: Cambridge University Press

ISBN: 1107136326

Category: History

Page: 377

View: 994

An exploration of fantastic soundworlds in nineteenth-century France, providing a fresh aesthetic and compositional context for Berlioz and others.

The Cambridge Companion to Music and Romanticism

Berlioz, Hector. ... Hoffmann, E. T. A. E. T. A. Hoffmann's Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism, ed., ... Music and Fantasy in the Age of Berlioz (Cambridge: Cambridge University Press, 2017).

Author: Benedict Taylor

Publisher: Cambridge University Press

ISBN: 1108633536

Category: Music


View: 284

This Companion presents a new understanding of the relationship between music and culture in and around the nineteenth century, and encourages readers to explore what Romanticism in music might mean today. Challenging the view that musical 'romanticism' is confined to a particular style or period, it reveals instead the multiple intersections between the phenomenon of Romanticism and music. Drawing on a variety of disciplinary approaches, and reflecting current scholarly debates across the humanities, it places music at the heart of a nexus of Romantic themes and concerns. Written by a dynamic team of leading younger scholars and established authorities, it gives a state-of-the-art yet accessible overview of current thinking on this popular topic.

Grand Illusion

Berlioz's Orchestration Treatise, 114. 24. For a discussion of the ensuing bachanale see Brittan, Music and Fantasy in the Age of Berlioz, 240–46. 25. On this point see Brittan, Music and Fantasy in the Age of Berlioz, 155–84. 26.

Author: Gabriela Cruz

Publisher: Oxford University Press, USA

ISBN: 0190915056

Category: Music

Page: 313

View: 562

A new and groundbreaking historical narrative, Grand Illusion: Phantasmagoria in Nineteenth-Century Opera explores how technical innovations in Paris transformed the grand opera into a transcendent, dream-like audio-visual spectacle.

The Beethoven Syndrome

See Francesca Brittan, “Berlioz and the Pathological Fantastic: Melancholy, Monomania, and Romantic Autobiography,” 19CM 29 (2006): 211–39; and Brittan, Music and Fantasy in the Age of Berlioz (Cambridge: Cambridge University Press, ...

Author: Mark Evan Bonds

Publisher: Oxford University Press

ISBN: 0190068493

Category: Music

Page: 304

View: 309

The "Beethoven Syndrome" is the inclination of listeners to hear music as the projection of a composer's inner self. This was a radically new way of listening that emerged only after Beethoven's death. Beethoven's music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general--and not just Beethoven--in their works, particularly in their instrumental music. The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. But through a confluence of musical, philosophical, social, and economic changes, the paradigm of expressive objectivity gave way to one of subjectivity in the years around 1830. The framework of rhetoric thus yielded to a framework of hermeneutics: concert-goers no longer perceived composers as orators but as oracles to be deciphered. In the wake of World War I, however, the aesthetics of "New Objectivity" marked a return not only to certain stylistic features of eighteenth-century music but to the earlier concept of expression itself. Objectivity would go on to become the cornerstone of the high modernist aesthetic that dominated the century's middle decades. Masterfully citing a broad array of source material from composers, critics, theorists, and philosophers, Mark Evan Bonds's engaging study reveals how perceptions of subjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening.

The Palgrave Handbook of Steam Age Gothic

Music and Fantasy in the Age of Berlioz. Cambridge: Cambridge University Press, 2017. Buch, David J. Magic Flutes and Enchanted Forests: The Supernatural in Eighteenth-Century Musical Theater. Chicago: University of Chicago Press, 2008.

Author: Clive Bloom

Publisher: Springer Nature

ISBN: 3030408663

Category: Social Science

Page: 867

View: 389

By the early 1830s the old school of Gothic literature was exhausted. Late Romanticism, emphasising as it did the uncertainties of personality and imagination, gave it a new lease of life. Gothic—the literature of disturbance and uncertainty—now produced works that reflected domestic fears, sexual crimes, drug filled hallucinations, the terrible secrets of middle class marriage, imperial horror at alien invasion, occult demonism and the insanity of psychopaths. It was from the 1830s onwards that the old gothic castle gave way to the country house drawing room, the dungeon was displaced by the sewers of the city and the villains of early novels became the familiar figures of Dr Jekyll and Mr Hyde, Dracula, Dorian Grey and Jack the Ripper. After the death of Prince Albert (1861), the Gothic became darker, more morbid, obsessed with demonic lovers, blood sucking ghouls, blood stained murderers and deranged doctors. Whilst the gothic architecture of the Houses of Parliament and the new Puginesque churches upheld a Victorian ideal of sobriety, Christianity and imperial destiny, Gothic literature filed these new spaces with a dread that spread like a plague to America, France, Germany and even Russia. From 1830 to 1914, the period covered by this volume, we saw the emergence of the greats of Gothic literature and the supernatural from Edgar Allan Poe to Emily Bronte, from Sheridan Le Fanu to Bram Stoker and Robert Louis Stevenson. Contributors also examine the fin-de-siècle dreamers of decadence such as Arthur Machen, M P Shiel and Vernon Lee and their obsession with the occult, folklore, spiritualism, revenants, ghostly apparitions and cosmic annihilation. This volume explores the period through the prism of architectural history, urban studies, feminism, 'hauntology' and much more. 'Horror', as Poe teaches us, 'is the soul of the plot'.

Women and Music in Sixteenth Century Ferrara

Indigenous Voice in the Era of European Contact Matthew Gelbart, The Invention of Folk Music and Art Music: Emerging ... Salon: Music, Literature, Liberalism Francesca Brittan, Music and Fantasy in the Age of Berlioz Laurie Stras, ...

Author: Laurie Stras

Publisher: Cambridge University Press

ISBN: 1107154073

Category: Music

Page: 417

View: 863

Rethinks and retells the history of music in sixteenth-century Ferrara, putting women, of the court and convent, at the narrative centre.

Magician of Sound

“Arabesque and Metric Dissonance in the Music of Maurice Ravel (1905–1914).” PhD diss., University of Chicago, 2004. . Details of Consequence: Ornament, Music, and Art in Paris. ... Music and Fantasy in the Age of Berlioz.

Author: Jessie Fillerup

Publisher: University of California Press

ISBN: 0520379888

Category: Music

Page: 301

View: 159

French composer Maurice Ravel was described by critics as a magician, conjurer, and illusionist. Scholars have been aware of this historical curiosity, but none so far have explained why Ravel attracted such critiques or what they might tell us about how to interpret his music. Magician of Sound examines Ravel's music through the lens of illusory experience, considering how timbre, orchestral effects, figure/ground relationships, and impressions of motion and stasis might be experienced as if they were conjuring tricks. Applying concepts from music theory, psychology, philosophy, and the history of magic, Jessie Fillerup develops an approach to musical illusion that newly illuminates Ravel's fascination with machines and creates compelling links between his music and other forms of aesthetic illusion, from painting and poetry to fiction and phantasmagoria. Fillerup analyzes scenes of enchantment and illusory effects in Ravel's most popular works, including Boléro, La Valse, Daphnis et Chloé, and Rapsodie espagnole, relating his methods and musical effects to the practice of theatrical conjurers. Drawing on a rich well of primary sources, Magician of Sound provides a new interdisciplinary framework for interpreting this enigmatic composer, linking magic and music.

Red Sea Red Square Red Thread

Music and Fantasy in the Age of Berlioz. Cambridge, UK: Cambridge University Press. Brockmann, Stephen. 2006. Nuremberg: The Imaginary Capital. Rochester, NY: Camden House. Bronfen, Elisabeth. 2008. Tiefer als der Tag gedacht: Eine ...

Author: Lydia Goehr

Publisher: Oxford University Press

ISBN: 0197572456

Category: Philosophy


View: 166

A profoundly original philosophical detective story tracing the surprising history of an anecdote ranging across centuries of traditions, disciplines, and ideas Red Sea-Red Square-Red Thread is a work of passages taken, written, painted, and sung. It offers a genealogy of liberty through a micrology of wit. It follows the long history of a short anecdote. Commissioned to depict the biblical passage through the Red Sea, a painter covered over a surface with red paint, explaining thereafter that the Israelites had already crossed over and that the Egyptians were drowned. Clearly, not all you see is all you get. Who was the painter and who the first teller of the tale? Designed as a philosophical detective story, Red Sea-Red Square-Red Thread follows the extraordinary number of thinkers and artists who have used the Red Sea anecdote to make so much more than a merely anecdotal point. Leading the large cast are the philosophers, Arthur Danto and Søren Kierkegaard, the poet and playwright, Henri Murger, the opera composer, Giacomo Puccini, and the painter and print-maker, William Hogarth. Strange companions perhaps, until their use of the anecdote is shown as working its extraordinary passage through so many cosmopolitan cities of art and capital. What about the anecdote brings Danto's philosophy of art into conversation with Kierkegaard's stages on life's way, with Murger and Puccini's la vie de bohème, and with Hogarth's modern moral pictures? The book explores narratives of emancipation in philosophy, theology, politics, and the arts. What has the passage of the Israelites to do with the Egyptians who, by many gypsy names, came to be branded as bohemians when arriving in France from the German lands of Bohemia? What have Moses and monotheism to do with the history of monism and the monochrome? And what sort of thread connects a sea to a square when each is so purposefully named red?

Beethoven s String Quartet in C sharp Minor Op 131

See Francesca Brittan, Music and Fantasy in the Age of Berlioz (Cambridge: Cambridge University Press, 2017), p. 3. 16 Anon., “Recension [Op. 74],” Allgemeine musikalische Zeitung 13, no. 21 (May 22, 1811), pp. 350–1.

Author: Nancy November

Publisher: Oxford University Press

ISBN: 0190059230

Category: Music

Page: 144

View: 280

Beethoven's String Quartet in C-sharp minor Op. 131 (1826) is not only firmly a part of the scholarly canon, the performing canon, and the pedagogical canon, but also makes its presence felt in popular culture. Yet in recent times, the terms in which the C-sharp minor quartet is discussed and presented tend to undermine the multivalent nature of the work. Although it is held up as a masterpiece, Op. 131 has often been understood in monochrome terms as a work portraying tragedy, struggle, and loss. In Beethoven's String Quartet in C-sharp Minor, Op. 13, author Nancy November takes the modern-day listener well beyond these categories of adversity or deficit. The book goes back to early reception documents, including Beethoven's own writings about the work, to help the listener reinterpret and re-hear it. This book reveals the diverse musical ideas present in Op. 131 and places the work in the context of an emerging ideology of silent or 'serious' listening in Beethoven's Europe. It considers how this particular 'late' quartet could speak with special eloquence to a highly select but passionately enthusiastic audience and examines how and why the reception of Op. 131 has changed so profoundly from Beethoven's time to our own.