Composta nel 1834, è ispirata a Il pellegrinaggio del giovane Aroldo, di Lord Byron.. Ognuno dei 4 movimenti che compongono la sinfonia è caratterizzato da un titolo che ha lo scopo di rendere più chiaro il messaggio musicale. More than any other conductor, Leonard Bernstein led the score with a thrilling and highly appropriate youthful exuberance. A companion French recording of the Symphonie Fantastique is overtly impetuous and meticulously detailed, but for the first movement of Harold Bernstein takes his cue from Toscanini's careful balance between classical restraint and rebellious invention to portray the duality of Berlioz's conception with constant excited outbursts that arise and subside naturally from within the French orchestral tradition of smooth, mellow sound in which the overall performance is nestled. Jacques Barzin's Berlioz and the Romantic Century (Little, Brown & Company 1950) is an extraordinary and extensive analysis of the composer in the context of his psyche and times. The second movement of Harold is an extraordinary display of Berlioz's skill in that realm. 16 & La Mort de Cléopâtre, Hector Berlioz: Harold in Italy; Richard Strauss: Till Eulenspiegel, Berlioz: Harold in Italy; Les Francs - Juges; Rêverie et Caprice, Berlioz: Roman Carnival Overture; Excerpts from The Damnation of Faust; Harold in Italy, Berlioz: Harold en Italie; La Damnation de Faust (Excerpts); Les Troyens (Excerpts), Berlioz: Harold en Italie; Tristia, Op. Which of the following is the term for a small, two-sided ... Harold in Italy. In any event, they announced to the press a mammoth work for orchestra, chorus and solo viola to be entitled Les dernier instants de Mary Stuart ("The Last Moments of Mary Stuart"), the "Queen of Scots" who had been executed in 1587 after two decades of imprisonment and political intrigue. (The next performance two weeks later gained even lesser notice – the audience was wowed by Chopin, a guest star who played the Romanze from his first piano concerto.) (Julian Rushton suggests that Berlioz relished the conflict between audiences' generic expectations and his musical reality.). 16:start of the idée fixe. L'IDÉE FIXE: Deux Hommes à la Mer (French Edition) and over 1.5 million other books are available for Amazon Kindle . Sharp, brash and lean, the result comes close to the feel of period instrumentation, but with a riveting passion absent from most reconstructive attempts. Like Berlioz himself, the solo viola finds itself increasingly isolated from the orchestral mainstream. The third movement finds the solo viola marginalized, emerging only to play its Harold theme as a distant observer to the intensely human amorous activity being depicted. As is so often the case in compilations such as this one, the liner notes fall extremely short. Among other recordings I've enjoyed, the budget-priced version by Rivka Golani and the San Diego Orchestra led by Yaov Talmi (Naxos), while lacking the distinction of those already noted, is surprisingly accomplished and idiomatic. For Joel-Marie Fouquet, through this treatise Berlioz evolved the science of instrumentation into the art of orchestration. Essentially restricted to a strophic march structure, the movement is notable for its daring modulations, each marked by the tolling of two bells. Written largely in 1848, serialized in Le Monde illustré in 1858-9, and published in 1865 for limited private distribution, the Mémoires consisted of travel journals recounted well after the fact, critical essays and biographical glimpses into his life and work. So while the Mémoires serve as a fully accurate and compelling portrait of Berlioz's memories, self-image and convictions, the facts he purports to recite may not be wholly reliable. The middle movements boast distinctive, humanizing touches – the second evolves into a profoundly religious rapture, as gingerly phrasing gradually gains confidence with the lengthening lines, and the third evokes the amateurism of Berlioz's serenader through labored pacing and choppy accompaniment. Souvenirs des scènes précédentes. Hector Berlioz was a master of program music, and for two of his most famous orchestral works -- Symphonie fantastique and Harold in Italy -- the program is an intrinsic part of the full appreciation of the music. According to Berlioz, he tried to combine the solo lines with the orchestra, feeling sure that Paganini's incomparable execution would enable him to give the solo instrument all its due prominence. The third is normally paced, and thus foregoes the shift to a faster gear that usually follows the placid second, while the sweet, vibrato-laden solo discounts the "leather lunged" serenader the composer described. Harold in Italy, Berlioz-Liszt, for viola and piano Harold en Italie became quite popular and Berlioz's friend Franz Liszt made a transcription of it for viola and piano which greatly impressed Berlioz, he said he would have never thought the piano capable of such sort of 'orchestral' sonorities. Even so, for posterity, Berlioz left some quixotic and obsessively detailed instructions in his score, including placement of the players (the solo viola is to be near the harp), the type of drum-sticks to use on various phrases, the method of rolling tambourines (with the fingers), the number of beats to give in certain measures, and a caution that a gradual crescendo is to extend evenly over 115 measures. Or, in Harold Schonberg's more flattering assessment, all Berlioz's work is a mixture of flaws and genius; moments of inspiration alternate with banalities, overwriting, self-conscious posing, weak melodies and awkward transitions, yet all such blemishes wither before his prodigious power, originality and ardent Romanticism. Scherchen saves his biggest surprise for the very end, though – having led us to expect a truly ferocious finish, he catches us off guard with a thoroughly restrained final climax, as if to remind us that, after all, this is concert-hall music nestled in the conventions of a bygone era. 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. Ernest Newman, though, feels that Paganini hoped to benefit from the publicity surrounding the gesture to counter widespread criticism of his stinginess. The sobering fugato which opens the movement soon gives way to an uncertain melody in the woodwinds, which blossoms until the viola presents it in full as Harold's theme, the idée fixe. Here is an extract of it: The San Francisco Symphony’s Keeping Score resource also charts which instruments introduce the idée fixe in each movement, and the effect. 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. Motive correct incorrect. His boredom soon turned to wanderlust, as he fled his residency to wander the Italian countryside, gathering impressions, dreams and inpirations that would infuse his new work. I've always loved Hector Berlioz's Harold en Italie ("Harold in Italy"), even though critics tend to slight it compared to his other ground-breaking symphonies – the Symphonie Fantastique that preceded it and Romeo et Juliet that would follow. 16). While often described as a modified sonata form, over half its length is a slow introduction launched with a sinuous fugue, as if to suggest the academic doldrums from which Berlioz sought escape in nature. See score / Listen on Youtube: K) Rhythm: Berlioz has a … In notes to their companion CD of the Symphonie Fantastique, Gardiner 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. The first is orchestration. Scenes of melancholy, happiness and joy"). Egon Kenton posits that the titles were grafted on as an afterthought, to ease the audience's shock of listening to novel music they might otherwise not be able to grasp. The sharp and clear finale upholds a sense of musical abstraction above the score's characterization of carousing. Many historians regard the most significant formal innovation in Berlioz's three great symphonies (I'm purposely excluding his turgid, ceremonial 1840 Grande Symphonie Funèbre et Triomphale) to have ushered in an era of program music. ("Beethoven is dead and Berlioz alone can revive him.") The original and full statement of the idée fixe is found in bars 72-111 in the first movement of the Symphonie fantastique. ), Harold's musical roots are equally intriguing. The result is a fine depiction of the artistic struggle waged within the composer's soul, taking constant flight yet tempered by the aesthetic roots from which he could not fully extract himself. That thrilling event is preserved in rather crude sound on a Music & Arts CD. Yet, Berlioz knew that ten minutes of relentless bombastic din would be ineffective, and so added a complementary vision that: "violins, basses, trombones, drums and cymbals all sang and bounded and roared with diabolical order and concord." To Lang, rather than let his unfettered emotion run free with spontaneous feeling, Berlioz tended to lapse into outmoded formal clichés. After a deceptively placid methodical opening, the mood is shattered with a sudden shift to vast velocity and force, as soloist Frederick Riddle, in far better form than with Beecham, digs into his instrument and tosses off his figures with striking staccato amid orchestral snarls. But it's in the finale that Scherchen pulls out all the stops, violently contrasting the sweet moments of repose with wild breakneck climactic tempos, fully conveying the volatility of the composer's psyche, torn between the stability of social expectations and his fevered imagination. Rhythmic complexity abounds, bar lines virtually disappear, duple and triple meters are overlaid, and, in a novel touch, several emphatic held notes are prefaced with a tied sixteenth that disrupts the expected downbeat with a sense of great anticipatory urgency. No. Like Mendelssohn, Berlioz made the second movement of his "Italian" symphony a "Pilgrim's March." At 45 minutes, it's the most leisurely-paced Harold I've heard on record, with exceptionally smooth, blended and patient unfolding of the musical splendors enhanced by Zuckerman's liquid, romanticized phrasing. ", But Paganini's connection with Harold did not end with his disavowal of the work. Aroldo in Italia (Harold en Italie) è una sinfonia in 4 parti con viola principale di Hector Berlioz (op. Primrose recalled that he first learned the part at the request of Arturo Toscanini for a 1939 broadcast concert by the NBC Symphony, in which he was the co-principal violist, before embarking on a solo career. Scènes de mélancolie, de bonheur et de joie" ("Harold in the mountains. Perhaps it's the title – both my late father and older son are named Harold. Berlioz poured his extensive yet intuitive knowledge of instrumentation into one of the classics of music literature, his 1843 Grande Traité d'instrumentation et d'orchestration modernes which explores with great thoroughness the impact of each instrument on listener perception and remains relevant. Thus, the first movement is more a jog than a jaunt through the country and the cruel velocity of the arpeggios in the second really put Primrose to the test (which he passes brilliantly). Entitled "Sérénade d'un Montagnard des Abruzzes à son maîtresse" ("Serenade of an Abruzzian mountaineer to his sweetheart"), it opens with a jaunty rustic oboe and piccolo theme over a sustained open fifth drone and a peppy, syncopated string rhythm, then lapses into a slow, plaintive English horn melody over gently shifting string harmonies. S.395 I-Catalogue Number I-Cat. (Primrose also began his career and made early recordings on the violin, but then abandoned it for the viola.) While much of Harold is grounded in the composer's cherished memories, the fourth movement culminates the work with a flight of pure fantasy that deliriously displays all the hallmarks of Berlioz's style. Its full title – Intrada de Rob Roy MacGregor – explains much of the Scottish flavor that carries over into Harold – as does the initial concept of the Mary Stuart piece. But no matter – the audience seemed far more interested in La Captive, Berlioz's setting of the Hugo poem of the erotic reveries of a harem slave. Berlioz himself called it "long and diffuse," and claimed to have been so disappointed with its reception at its first and only performance that he burned the score (although the copy he submitted to the French Academy survived). The relationship unravels in the second movement, though – at first an augmented Harold theme blends harmoniously with the pilgrim song, next becomes disruptive with triplet rhythm, and then turns downright annoying, as rapid arpeggiated chords (emulating the guitar Berlioz liked to strum on his mountain walks) are played sul ponticello [near the bridge] for a gratingly nasal, whiny tone that sours the peaceful meditation of the solemn prayer like a rowdy child in church. Berlioz issued it as a book at his own expense at the end of his life, largely to defend his reputation and craft an affirmative legacy. Select one: a. winning the Prix de Rome b. a rich patron c. becoming a canon of the Church d. commissions from La Scala. Each movement portrays how the persons love for Harriet becomes more and more obsessive. Aroldo in Italia (Harold en Italie) è una sinfonia in 4 parti con viola principale di Hector Berlioz (op. Harold En Italie Opus 16: Berlioz, Diederich: Amazon.it: Musica Selezione delle preferenze relative ai cookie Utilizziamo cookie e altre tecnologie simili per migliorare la tua esperienza di acquisto, per fornire i nostri servizi, per capire come i nostri clienti li utilizzano in modo da poterli migliorare e per visualizzare annunci pubblicitari. By all accounts, including his own, Berlioz was an exacting conductor who rehearsed each section intensively – from a 1843 concert he cut the finale, finding the trombones incompetent and the violins too few for the sound he required. Indeed, Carse suspects that Berlioz sometimes built up music in order to show off a preconceived instrumental effect (and perhaps, in that process, he generated the stretches that in a traditional sense seemed uninspired). 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. Following this brass-fueled, slightly demented fury, the viola briefly returns with the "Pilgrim's March" and a final statement of Harold's theme as the composer's nostalgic reminiscence comes to a close. Berlioz must have closely identified with Byron's title character, a melancholy dreamer who visits and comments upon sites of classical antiquity in search of meaning to counter his own world-weary disillusionment. 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 it wends its way through various instrumental combinations.

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