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Evenings with the Orchestra

ISBN-10: 0226043746

ISBN-13: 9780226043746

Edition: 1999

Authors: Jacques Barzun, Hector Berlioz

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Description:

During the performances of fashionable operas in an unidentified town in northern Europe, the musicians tell tales, read stories and exchange gossip to relieve the tedium of the bad music they are paid to perform.
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Book details

List price: $38.00
Copyright year: 1999
Publisher: University of Chicago Press
Publication date: 5/15/1999
Binding: Paperback
Pages: 404
Size: 5.75" wide x 8.75" long x 1.00" tall
Weight: 1.034

Jacques Barzun was born in Cr�teil, France on November 30, 1907. He came to the United States in 1920 and graduated magna cum laude from Columbia University in 1927. Following graduation, he joined Columbia's faculty as an instructor while continuing his studies in graduate school there, receiving a master's degree in 1928 and a doctorate in French history in 1932. He became a full professor in 1945, was dean of graduate faculties from 1955 to 1958, and dean of faculties from 1958 to 1967. He retired from Columbia University in 1975. He was a historian and cultural critic. The core of his work was the importance of studying history to understand the present and a fundamental respect for intellect. Although he wrote on subjects as diverse as detective fiction and baseball, he was especially known for his many books on music, nineteenth-century romanticism and education. His works include Darwin, Marx and Wagner: Critique of a Heritage; Romanticism and the Modern Ego; The House of Intellect; Race: A Study in Superstition; Simple and Direct: A Rhetoric for Writers; A Stroll with William James; The Culture We Deserve; and From Dawn to Decadence. He died on October 25, 2012 at the age of 104.

French composer Hector Berlioz was one of the most influential composers of the romantic period in music. The son of a French physician, Berlioz showed an aptitude for music at an early age and taught himself to perform and compose. For a time, his father indulged his son's pastime, but in 1821 he sent the young Berlioz to Paris to study medicine. Although he attended lectures at the medical school there, Berlioz gave most of his attention to music, studying with a private music teacher and composing his own pieces. Finally, in 1826 Berlioz abandoned his medical studies and enrolled at the Paris Conservatory. To support himself, he gave music lessons and wrote articles on music. While at the Paris Conservatory, Berlioz applied for the Prix de Rome. He entered the contest four times before finally winning the prize in 1830. In that same year, Berlioz completed the Symphonie Fantastique, his most ambitious and well-known work. Based on Confessions of an English Opium Eater by Thomas De Quincey, the symphony is an example of program music, that is, music that represents a story or sequence of ideas. Berlioz developed the genre of program music into a highly regarded art, drawing themes from the works of William Shakespeare, Johann Wolfgang von Goethe, Lord Byron, and Theophile Gautier. Because the unusual nature of his compositions failed to win him much recognition, Berlioz was forced to earn a living as a music critic and music librarian. By the time he was 34 years old, he had established a pattern in his career: Each new musical composition was greeted by a mixture of wild enthusiasm from younger composers and hostility from the entrenched musical establishment. Although he did achieve some measure of fame in later life, Berlioz's genius went largely unrecognized. Despondent in later years because of a broken marriage and financial problems, Berlioz composed the dramatic symphony Romeo and Juliet. His last years were lived in bitterness and loneliness after the death of his second wife and his son. Berlioz has been called the greatest composer of melody since Mozart. He is also recognized as a master of the orchestra, having greatly expanded its expressive range through his profound understanding of individual instruments. Finally, his experimentation with new musical structures and meters freed younger composers from the strict requirements of classical musical forms and opened the way to other musical approaches. Berlioz died in Paris in 1869 after a long illness.

Foreword
Preface to the Phoenix Edition
Introduction
Prologue
First Evening: The First Opera--Vincenza--The Vexations of Kleiner the Elder
Second Evening: The Strolling Harpist--The Performance of an Oratorio--The Sleep of the Just
Third Evening: [Der Freischutz]
Fourth Evening: A Debut in Freischutz--Marescot
Fifth Evening: The S in Robert le diable
Sixth Evening: How a Tenor Revolves around the Public--The Vexations of Kleiner the Younger
Seventh Evening: Historical and Philosophical Studies: De viris illustribus urbis Romae--A Roman Woman--Vocabulary of the Roman Language
Eighth Evening: Romans of the New World--Mr. Barnum--Jenny Lind's Trip to America
Ninth Evening The Paris Opera and London's Opera Houses
Tenth Evening: On the Present State of Music--The Tradition of Tack--A Victim of Tack
Eleventh Evening: [A Masterpiece]
Twelfth Evening: Suicide from Enthusiasm
Thirteenth Evening: Spontini, a Biographical Sketch
Fourteenth Evening: Operas off the Assembly Line--The Problem of Beauty--Schiller's Mary Stuart--A Visit to Tom Thumb
Fifteenth Evening: Another Vexation of Kleiner the Elder's
Sixteenth Evening: Musical and Phrenological Studies--Nightmares--The Puritans of Sacred Music--Paganini
Seventeenth Evening: [The Barber of Seville]
Eighteenth Evening: Charges Leveled against the Author's Criticism--Analysis of The Lighthouse--The Piano Possessed
Nineteenth Evening: [Don Giovanni]
Twentieth Evening: Historical Gleanings: Napoleon's Odd Susceptibility--His Musical Judgment--Napoleon and Lesueur--Napoleon and the Republic of San Marino
Twenty-first Evening: The Study of Music
Twenty-second Evening: [Iphigenia in Tauris]
Twenty-third Evening: Gluck and the Conservatory in Naples--A Saying of Durante's
Twenty-fourth Evening: [Les Huguenots]
Twenty-fifth Evening: Euphonia, or the Musical City
Epilogue: The Farewell Dinner
Second Epilogue: Corsino's Letter to the Author--The Author's Reply to Corsino--Beethoven and His Three Styles--Beethoven's Statue at Bonn--Mehul--Conestabile on Paganini--Vincent Wallace
Index