Book contents
- Berlioz: Symphonie fantastique
- New Cambridge Music Handbooks
- Berlioz: Symphonie fantastique
- Copyright page
- Dedication
- Contents
- Illustrations and Box
- Tables
- Music Examples
- Preface and Acknowledgements
- Abbreviations
- 1 Introduction, Programme, Outline
- 2 Literary and Musical Romanticism
- 3 Symphonie fantastique in Berlioz’s Lifetime
- 4 First Movement
- 5 Second Movement
- 6 Third Movement
- 7 Fourth Movement
- 8 Fifth Movement
- 9 The Sequel
- 10 Reception
- 11 Other Approaches
- Select Bibliography
- Index
- References
Select Bibliography
Published online by Cambridge University Press: 30 November 2023
Book contents
- Berlioz: Symphonie fantastique
- New Cambridge Music Handbooks
- Berlioz: Symphonie fantastique
- Copyright page
- Dedication
- Contents
- Illustrations and Box
- Tables
- Music Examples
- Preface and Acknowledgements
- Abbreviations
- 1 Introduction, Programme, Outline
- 2 Literary and Musical Romanticism
- 3 Symphonie fantastique in Berlioz’s Lifetime
- 4 First Movement
- 5 Second Movement
- 6 Third Movement
- 7 Fourth Movement
- 8 Fifth Movement
- 9 The Sequel
- 10 Reception
- 11 Other Approaches
- Select Bibliography
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- Berlioz: Symphonie Fantastique , pp. 146 - 150Publisher: Cambridge University PressPrint publication year: 2023
References
Primary Sources
Berlioz, Hector. Symphonie fantastique. Facsimile of the autograph manuscript, with introduction by Hugh Macdonald (Kassel: Bärenreiter, 2017).Google Scholar
Berlioz, Hector Berlioz: Fantastic Symphony, ed. Cone, Edward T.. Norton Critical Scores (New York: Norton, 1971).Google Scholar
Berlioz, Hector Symphonie fantastique, ed. Temperley, Nicholas. New Berlioz Edition Vol. 16 (Kassel: Bärenreiter, 1972). (Miniature score by Edition Eulenburg 422.)Google Scholar
Berlioz, Hector. Lélio, ou le Retour à la vie, ed. Bloom, Peter. New Berlioz Edition Vol. 7 (Kassel: Bärenreiter, 1992).Google Scholar
Secondary Sources
Berlioz, Hector. Symphonie fantastique. Facsimile of the autograph manuscript, with introduction by Hugh Macdonald (Kassel: Bärenreiter, 2017).Google Scholar
Berlioz, Hector Berlioz: Fantastic Symphony, ed. Cone, Edward T.. Norton Critical Scores (New York: Norton, 1971).Google Scholar
Berlioz, Hector Symphonie fantastique, ed. Temperley, Nicholas. New Berlioz Edition Vol. 16 (Kassel: Bärenreiter, 1972). (Miniature score by Edition Eulenburg 422.)Google Scholar
Berlioz, Hector. Lélio, ou le Retour à la vie, ed. Bloom, Peter. New Berlioz Edition Vol. 7 (Kassel: Bärenreiter, 1992).Google Scholar
Banks, Paul. ‘Berlioz’s “Marche au supplice” and Les Francs-juges: A Re-examination’. The Musical Times 130 (January 1989): 16–19.CrossRefGoogle Scholar
Banks, Paul ‘Coherence and Diversity in the Symphonie Fantastique’. 19th-Century Music 8 (Summer 1984): 37–43.CrossRefGoogle Scholar
Barzun, Jacques. Berlioz and the Romantic Century, 2nd edition (New York: Columbia University Press, 1969).Google Scholar
Bent, Ian (ed.). Music Analysis in the Nineteenth Century II: Hermeneutic Approaches (Cambridge: Cambridge University Press, 1994).Google Scholar
Berger, Christian. Phantastik als Konstruktion: Hector Berlioz’ ‘Symphonie fantastique’. Kieler Schriften zur Musikwissenschaft Vol. xxvii (Kassel: Bärenreiter, 1983).Google Scholar
Berlioz, Hector. Grand Traité d’instrumentation et d’orchestration modernes (Paris: Schonenberger, 1843).Google Scholar
Berlioz, Hector Berlioz’s Orchestration Treatise: A Translation and Commentary, trans. and annotated Hugh Macdonald (Cambridge: Cambridge University Press, 2002).Google Scholar
Berlioz, Hector Grand Traité, ed. Bloom, Peter. New Berlioz Edition Vol. 24 (Kassel: Bärenreiter, 2003).Google Scholar
Berlioz, Hector À travers chants. Études musicales, adorations, boutades et critiques (Paris: Michel Lévy frères, 1862).Google Scholar
Berlioz, Hector Annotated edition, ed. Guichard, Léon Trans. Elizabeth Csicsery-Rónay as The Art of Music and Other Essays (Bloomington: Indiana University Press, 1994).Google Scholar
Berlioz, Hector Annotated edition, ed. Guichard, Léon Mémoires d’Hector Berlioz, membre de l’Institut de France (Paris: Michel Lévy frères, 1870).Google Scholar
Berlioz, Hector The Memoirs of Hector Berlioz, trans. and ed. Cairns, David, 2nd revised edition (New York: Knopf, 2002).Google Scholar
Berlioz, Hector. Correspondance générale d’Hector Berlioz, gen. ed. Citron, Pierre, 8 vols. (Paris: Flammarion, 1972–95); Vol. I (ed. Citron, 1972); Vol. II (ed. Robert, Frédéric, 1975); Vol. III (ed. Citron, 1978); Vol. V (ed. Macdonald, Hugh, Lesure, François, 1989); Vol. VI (ed. Macdonald, Lesure, 1995).Google Scholar
Berlioz, Hector Nouvelles lettres de Berlioz, sa famille, ses contemperains:Hector Berlioz Correspondance générale, Vol. IX, ed. Peter, Bloom, Joël-Marie, Fauquet, Hugh, Macdonald, and Cécile, Reynaud (Paris: Actes Sud: Palazzetto Bru Zane, 2016).Google Scholar
Berlioz, Hector. Berlioz on Music: Selected Criticism 1824–1837, ed. Kolb, Katherine, trans. Samuel N. Rosenberg (New York: Oxford University Press, 2015).Google Scholar
Berlioz, Hector Critique musicale 1823–1863. Vols. 1 and 3 ed. Cohen, H. Robert and Gérard, Yves (Paris: Buchet, 1996; 2nd edition Chastel, 2001); Vol. 7 ed. Anne Bongrain and Marie-Hélène Coudroy-Saghaï (Paris: Société française de musicologie, 2013).Google Scholar
Beyls, Pascal. Estelle Fornier, premier et dernier amour de Berlioz (Grenoble: Pascal Beyls, 2003).Google Scholar
Bloom, Peter. ‘Berlioz pendant l’année de la Symphonie fantastique’. In Musique et Société: Hommages à Robert Wangermée, ed. Vanhulst, Henri and Haine, Malou (Brussels: Université de Bruxelles, 1988), 93–112. Trans. as ‘Berlioz in the Year of the Symphonie fantastique’. Journal of Musicological Research 9 (1989): 67–88; revised reprint in Peter Bloom, Berlioz in Time: From Early Recognition to Lasting Renown, Eastman Studies in Music (Rochester, NY: Rochester University Press, 2022), 1–25.Google Scholar
Bockholdt, Rudolf ‘Die idée fixe der Phantastischen Symphonie’. Archiv für Musikwissenschaft 30 (1973): 190–207.Google Scholar
Bonds, Mark Evan. The Beethoven Syndrome: Hearing Music as Autobiography (New York: Oxford University Press, 2020).Google Scholar
Braam, Gunther, and Jacobshagen, Arnold (ed.). Hector Berlioz in Deutschland:Texte und Dokumente zur deutschen Berlioz-Rezeption (1829–1843) (Göttingen: Hainholz, 2002).Google Scholar
Brittan, Francesca. ‘Berlioz and the Pathological Fantastic: Melancholy, Monomania, and Romantic Autobiography’. 19th-Century Music 29.3 (2006): 211–36.CrossRefGoogle Scholar
Brittan, Francesca Music and Fantasy in the Age of Berlioz (Cambridge: Cambridge University Press, 2017).CrossRefGoogle Scholar
Cairns, David. Berlioz. Vol. 1, The Making of an Artist (second revised edition, London: Allen Lane/The Penguin Press, 1999).Google Scholar
Cairns, David Berlioz. Vol. 2, Servitude and Greatness (London: Allen Lane/The Penguin Press, 1999).Google Scholar
Citron, Pierre, and Reynaud, Cécile (ed.). Dictionnaire Berlioz (Paris: Fayard, 2003).Google Scholar
Cone, Edward T. Berlioz: Fantastic Symphony (Norton Critical Score). London: Chappell, 1971.Google Scholar
Cosso, Laura. Strategie del fantastico: Berlioz et la cultura del romanticismofrancese (Alessandria: Edizione dell’Orso, 2002).Google Scholar
Dahlhaus, Carl. Nineteenth-Century Music, trans. J. Bradford Robinson (Berkeley: University of California Press, 1989).Google Scholar
Del Mar, Norman. Conducting Berlioz, ed. del Mar, Jonathan (Oxford: Clarendon Press, 1997).Google Scholar
Dömling, Wolfgang. ‘Die Symphonie fantastique und Berlioz’ Auffassung von Programmusik’. Die Musikforschung 28 (1975): 260–83.Google Scholar
Dömling, Wolfgang Hector Berlioz: Symphonie fantastique, Meisterwerke der Musik 19 (Munich: Fink, 1985).Google Scholar
Fifield, Christopher. The German Symphony between Beethoven and Brahms: The Fall and Rise of a Genre (Farnham: Ashgate, 2015).Google Scholar
Holoman, D. Kern Catalogue of the Works of Hector Berlioz. New Berlioz Edition Vol. 25 (Kassel: Bärenreiter, 1987).Google Scholar
Holoman, D. Kern The Creative Process in the Autograph Musical Documents of Hector Berlioz, c.1818–1840 (Ann Arbor, MI: UMI Research Press, 1980).Google Scholar
Holoman, D. Kern The Société des Concerts du Conservatoire, 1828–1967 (Berkeley: University of California Press, 2004).Google Scholar
Horton, Julian (ed.). The Cambridge Companion to the Symphony (Cambridge: Cambridge University Press, 2013).Google Scholar
Ironside, Susan. ‘Creative Developments of the “Mal d’Isolement” in Berlioz’. Music and Letters 59 (1978): 33–48.Google Scholar
Kolb, Katherine. ‘Berlioz’s Othello’. In Charlton, David and Ellis, Katharine (ed.), The Musical Voyager: Berlioz in Europe, Perspektiven der Opernforschung 14 (Frankfurt am Main: Peter Lang, 2007), 241–62.Google Scholar
Kolb, Katherine ‘Shakespeare and the Symphonie fantastique’. Berlioz Society Bulletin 203 (September 2017): 30–42.Google Scholar
*Kursell, Julia. ‘Hearing in the Music of Hector Berlioz’. In Trippett, David and Walton, Benjamin (ed.), Nineteenth-Century Opera and the Scientific Imagination (Cambridge: Cambridge University Press, 2019), 109–33.Google Scholar
Lu, Julia, and Dratwicki, Alexandre (ed.). Le Concours du prix de Rome de musique (1803–1968) (Lyon: Symétrie: Centre de musique romantique française, 2011).Google Scholar
Macdonald, Hugh ‘Berlioz and Schumann’. In Beethoven’s Century: Essays on Composers and Themes (Rochester, NY: University of Rochester Press, 2008), 42–56.Google Scholar
Macdonald, Hugh ‘Berlioz’s Lost Roméo et Juliette’. In Bloom, Peter (ed.), Berlioz: Scenes from the Life and Work (Rochester, NY: University of Rochester Press, 2008), 125–37.Google Scholar
Macdonald, Hugh ‘Berlioz’s Messe solennelle’. 19th-Century Music, xvi (Spring 1993): 267–85.Google Scholar
Macdonald, Hugh ‘Berlioz’s Orchestration: Human or Divine’. The Musical Times 110. 1513 (March 1969): 255–8.Google Scholar
Macdonald, Hugh ‘Berlioz’s Self-Borrowings’. Proceedings of the Royal Musical Association 92 (1965–6): 27–44.Google Scholar
Maus, Fred Everett. ‘Intersubjectivity and Analysis: Schumann’s Essay on the Fantastic Symphony’. In Bent, Ian (ed.) Music Theory in the Age of Romanticism (Cambridge: Cambridge University Press, 1996), 125–38.Google Scholar
Monelle, Raymond. The Musical Topic: Hunt, Military and Pastoral (Bloomington: Indiana University Press, 2006).Google Scholar
Münch, Marc-Mathieu. ‘Berlioz, l’effet de vie et la Symphonie fantastique’. In Berlioz, encore et pour toujours … (Arras: Actes du cycle Hector Berlioz, 2015), 41–66.Google Scholar
Raby, Peter. ‘Fair Ophelia’: The Life of Harriet Smithson Berlioz (Cambridge: Cambridge University Press, 1982).Google Scholar
Ramaut, Alban. Hector Berlioz: Compositeur romantique français (Paris: Actes Sud, 1993).Google Scholar
Ramaut, Alban (ed.). Hector Berlioz: Regards sur un dauphinois fantastique (Saint-Étienne: Publications de l’Université de Saint-Étienne, 2005).Google Scholar
Rodgers, Stephen. Form, Program, and Metaphor in the Music of Berlioz (Cambridge: Cambridge University Press, 2009).Google Scholar
Rosen, Charles and Zerner, Henri. Romanticism and Realism: The Mythology of Nineteenth-Century Art (London: Faber and Faber, 1984).Google Scholar
Rushton, Julian The Musical Language of Berlioz (Cambridge: Cambridge University Press, 1983).Google Scholar
Rushton, Julian (ed.). The Cambridge Berlioz Encyclopedia (Cambridge: Cambridge University Press, 2018).Google Scholar
Schacher, Thomas. Idee und Erscheinungsform des Dramatischen bei Hector Berlioz, Hamburger Beiträge zur Musikwissenschaft 33 (Hamburg: Verlag der Musikalienhandlung Karl Dieter Wagner, 1987).Google Scholar
Schumann, Robert. ‘“Aus dem Leben eines Künstlers”: Phantastische Symphonie in 5 Abtheilungen von Hector Berlioz’. Revised version in Gesammelte Schriften über Musik und Musiker (Leipzig: Georg Wigands Verlag, 1854), 118–51. (Originally in Neue Zeitschrift für Musik, July–August 1835; translations in Ian Bent, Music Analysis in the Nineteenth Century, and Edward T. Cone, Berlioz: Fantastic Symphony.)Google Scholar
Schumann, Robert [Signed ‘Panofka’]. ‘Ueber Berlioz und seine Compositionen’. Neue Zeitschrift für Musik 17 (27 February 1835): 67–9, 18 (3 March 1835): 71–2.Google Scholar
Temperley, Nicholas. ‘The Symphonie fantastique and Its Program’. The Musical Quarterly lvii (1971): 593–608.Google Scholar
Tovey, Donald Francis. Symphonies and Other Orchestral Works (Oxford: Oxford University Press, 1981), 164–70, reprinted from Tovey’s Essays in Musical Analysis (London: Oxford University Press, 1935–9).Google Scholar
Van Rij, Inge. The Other Worlds of Hector Berlioz: Travels with the Orchestra (Cambridge: Cambridge University Press, 2015).Google Scholar
Visentini, Olga. Berlioz e il suo tempo, 2 vols. (Lucca: Libreria Musicale Italiana, 2010).Google Scholar
Vogel, Oliver. Der romantische Weg im Frühwerk von Hector Berlioz (Stuttgart: Steiner, 2003).Google Scholar
Wotton, Tom S. Berlioz: Four Works, The Musical Pilgrim (London: Oxford University Press, 1929).Google Scholar
Association nationale Hector Berlioz: www.berlioz-anhb.com.Google Scholar
The Berlioz Society (London): www.theberliozsociety.org.uk.Google Scholar
The Hector Berlioz Website (founded by Monir Tayeb and Michel Austin, 1997): www.hberlioz.com/index.html.Google Scholar
Musée Berlioz (La Côte-Saint-André): www.musee-hector-berlioz.fr.Google Scholar