It's all about the classical music composers and their works from the last 400 years and much more about music. Hier erfahren Sie alles über die klassischen Komponisten und ihre Meisterwerke der letzten vierhundert Jahre und vieles mehr über Klassische Musik.
Popular Posts
-
117,098 views Mar 26, 2025 FAIRMONT SCOTTSDALE PRINCESS 117,098 views • Mar 26, 2025 • FAIRMONT SCOTTSDALE PRINCESS felt honored to be w...
-
2,778,072 views Feb 15, 2019 LIKE, SHARE & SUBSCRIBE! Don’t forget to click the Notification Bell when you subscribe so you won’t miss ...
-
The Alan Parsons Symphonic Project "Sirius" - "Eye In The Sky" The Alan Parsons Symphonic Project "Sirius" - ...
-
208K views 2 weeks ago #relaxmusic #relaxingpianomusic #pianist 208,973 views • Mar 11, 2025 • #relaxmusic #relaxingpianomusic #pianis...
-
by Emily E. Hogstad , Interlude Interested in dipping your toe in the massive ocean that is classical music? Then keep reading! Today we’re ...
-
"Somewhere In Time" - Complete Soundtrack. Track List: 00:01 Somewhere In Time 03:03 Old Woman 05:55 Journey Back In Time 10:2...
-
67,602 views Mar 23, 2025 #morissetteamon #morissette Support Morissette Amon by subscribing and following her on all social media platfor...
-
by Emily E. Hogstad Dancer, actress, and arts patron Ida Rubinstein was a trailblazing figure in the arts, and her impact on early twe...
-
by Fanny Po Sim Head , Interlude © soshipuffs.wordpress.com My job as a piano teacher has given me many opportunities to work with chil...
Total Pageviews
Sunday, March 24, 2013
George Bizet - His Music and Life
Hector Berlioz - His Music and Life. Hector Berlioz: Enfant Terrible!

Hector Berlioz

Berlioz’s skill as an orchestrator lays not in the novelty of the instruments themselves as much as it is found in his skill of using and combining them. Before Berlioz, the functions of orchestral instruments associated melody and harmony mainly in the string choir, with winds used for occasional reinforcement and soloistic color. For Berlioz, as he comprehensively described in his treatise on orchestration and instrumentation, the invention of a particular tone colors for individual passages was part of the normal process of composition. Harmony and correct voice-leading become secondary elements, and melody and the color of the orchestral sound makes almost exclusive claims upon our attention. We know that Berlioz responded to a request from Niccolo Paganini in his composition of Harold in Italy, but the combination of solo viola and orchestra in a symphony is nevertheless highly unusual! Paganini didn’t like it at all because it was not sufficiently virtuosic.
Berlioz sought employment in the theatre and the Conservatoire, but never in the Church. His pronouncements about religious music are the views of an unorthodox Christian, but he did set several sacred texts with a strong personal vision that discloses deeply religious roots. In his memoirs he writes about his fugue from the Messe solennelle, “Let people who have never heard anything like it, imagine what kind of devout expression arises when fifty voices, howling with fury in a lively tempo, repeat Amen four or five hundred times, or vocalize on the syllable “a,” so as to sound like raucous laughter. I defy anyone with the slightest musical feeling not to interpret such a chorus as an army of incarnate devils, making fun of the sacrament, rather than a gathering of the faithful praising god.” In essence, his religious music is primarily theatrical and orchestral, as his aim seems to have been a display of unity of subject matter and artistic purpose, rather then one of musical means.