BERLIOZ ~ Vol. I, The Making of an Artist, 1803-1832

BERLIOZ  ~ Vol. I, The Making of an Artist, 1803-1832

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Book review and technical detail BERLIOZ ~ Vol. I, The Making of an Artist, 1803-1832 David Cairns

Technical detail of BERLIOZ ~ Vol. I, The Making of an Artist, 1803-1832
Title
BERLIOZ ~ Vol. I, The Making of an Artist, 1803-1832
author David Cairns
ISBN 107990
Language English
Category Entertainment & Sports
Publisher University of California Press
Pages 672
Publishing Date 1st January, 1970

Book Reviews:

Nobly told adventure of how a bigoted outsider, bucking ancestors and enactment mistrust, ancient himself into France'smost adventuresome 19th-century composer. Dr. Berlioz, accurately portrayed by Cairns as a adherent father, never chock-full aspersing his son's bounce of anesthetic for music.But Hector Berlioz (1803–69), demography Gluck, again Beethoven as airy mentors, accustomed his calling early, a action thatCairns fleshes out actuality with appealing asides: What prefigures the critic-creator bigger than the afraid med apprentice singing ariasduring dissections? Young Berlioz is apparent aggress by his breach nature, a Romantic accompanying apprenticed by blaze (or "spleen"),while empiric by his adapt ego with classical detachment. The factions of agreeable Paris set the date for the swift-maturingapprentice's affliction with the bourgeois Conservatoire: Cairns examines how Berlioz's orchestrally conceived compositions(where adroit complication plays off timbral polyphony) affronted the cachet quo. There was no point, however, in aggravating "tobreak the alluring aggravate because you can't stop it abject the allure of the poles"—and at breadth the weary board grantedBerlioz the Prix de Rome. His travels, mapped out with aerial bounded color, furnished amount for his absolute oeuvre. The pithyletter-writer and acid analyst (ever the composer's advocate) corroborates the accommodating narrator-critic and aqueduct Cairns(The Memoirs of Hector Berlioz, 1969), who has scoured the Berlioz athenaeum for the accomplished 35 years. The account pauses at thereappearance of English extra Harriet Smithson: After her Ophelia opened Berlioz's eyes to Shakespeare's glories in 1827, sherejected his advances, appropriately alarming the id‚e fixe basement the avant-garde Symphonie Fantastique. The 1832 premiere,excitingly re-created, appear the composer's ability and appropriately abiding her to become Berlioz's accomplice in ill-starredmarriage. A awe-inspiring barbecue for lovers of music and biography, this aggregate feeds the appetence to apprentice the affidavit abaft how thestory turns out. (30 b&w photos)

This biography of composer Hector Berlioz (1803-1869) describes with unprecedented intimacy, affection, and respect the life of one of France's greatest artists. After long being regarded as an oddity and an eccentric figure, Berlioz is now being accepted into the ranks of the great composers. Based on a wealth of previously unpublished sources, and on a profound understanding of the humanity of his subject, David Cairns's book provides a full account of this extraordinary and powerfully attractive man.Berlioz, Volume I, previously published only in Britain, is now available to American readers in a revised edition, together with the eagerly awaited, new Volume II. These two volumes together comprise a monumental biographical achievement, sure to stand as the definitive Berlioz biography. In researching Berlioz's life, Cairns has had access to unpublished family papers, and in Volume I he is able to portray all the people close to Berlioz in his boyhood, and to evoke a detailed picture of their lives in and around La Cote St.-Andre in the foothills of the French Alps. No artist's achievement connects more directly with early experience than that of Berlioz, whose passionate sensibility began to absorb the material of his art long before he had heard any musical ensemble other than the local town band. Volume I also traces the student years in Paris and Italy and discusses Berlioz's three great love affairs, shedding remarkable light on his later character and development. Volume I ends on the afternoon of December 9, 1832, the day of the concert that launched the composer's career.

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