Berlioz

Berlioz — marelibri

Early Autograph Letter Signed Reserving a Venue for the Premiere of His "Harold en Italie"

réf. 20031BERLIOZ HECTOR. 1803-1869. French composer; creator of Harold in Italy Symphonie Fantastique and other masterpieces. ALS. "Hector Berlioz". 2pp. 4to. Paris October 9 1834. To l'intendant general de la liste civile. In French with translation. "I am planning to give three concerts over the course of next November. The Salle des Menus Plaisirs which you have been kind enough to make available to me several times in the past is really the only venue in Paris that lends itself to these kinds of musical events. So I request that you will grant me permission to hold mine there. These concerts just like the ones I gave last years would take place on Sundays at 2 in the afternoon. With all my respect dear General Intendant your humble servant…" The 1830s were difficult for Berlioz. Bereft of the recognition he craved and unable to earn a steady income from composing he worked as a critic for several journals and newspapers and accepted the few commissions that came his way. Nevertheless he produced a number of works including the symphony Harold en Italiewhich premiered on November 23 1834 about a month and a half after writing our letter at the Paris Conservatoire then housed in the Salle des Menus Plaisirs a theater attached to the Hôtel des Menus-Plaisirs and the venue for most of Berlioz's symphonic works. Harold en Italie based on Byron's narrative poemso captivated Italian violinist and composer Niccolo Paganini for whom it was written that in 1838 he presented Berlioz with a gift of 20000 francs. Several weeks before the premiere the Paris Conservatoire was also the venue for another Berlioz program on November 9 which included his Symphonie fantastique as well as the first performances of Sara la baigneuse version H69A and la Belle voyageuse. A plaque outside the Salle du Conservatoire commemorates Berlioz's performances there. Our letter was written from 34 rue de Londres Berlioz's home between 1834 and 1836. Docketed in the top margin. Folded and slightly creased; a very early letter and as such uncommon.

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BERLIOZ (Hector).Livre Rare Book

N la Cte-Saint-Andr (Isre). 1803-1869. Compositeur romantique franais et chef d'orchestre. L.A.S. "H. Berlioz" "Mon cher Engels" [David Hermann Engel]. Paris 4 rue de Calais, Jeudi 18 ou 19 mai [1864]. 1 page in-8.

1864réf. 3769Mai 1864 Berlioz, en habitu du festival de Bade [il y avait cr son opra Batrice et Bndict], organis tous les ans par Edouard Bnazet, annonce David Hermann Engel, la suppression du rendez-vous musical allemand :...M. Bnazet est venu passer quelques jours Paris, et la saison de Bade est supprime. Il m'a dit de suspendre tous mes prparatifs ; il n'y aura pas de festival. J'avais dj parl de vous et vous tiez adopt. Si cela se raccommode, je vous le ferai savoir.. Il ajoute, sans espoir ...Mais, ...Bellum ruit... Il nous manquait cela....Dans ses Mmoires, au chapitre 59, Berlioz crivit : M. Bnazet, le directeur des jeux, m'a engag plusieurs fois venir organiser et diriger le festival annuel de Bade, en mettant ma disposition pour excuter mes Suvres, tout ce que je pouvais demander. Sa gnrosit, en pareil cas, a dpass de beaucoup ce qu'ont jamais fait pour moi les souverains de l'Europe dont j'ai le plus me louer , puis dans une lettre sa sSur Adle, date du 11 mars 1858 (Corr. Gnrale, n 2283) : Bade c'est diffrent; on y gagne de l'argent, et on y fait de bonne musique, et on y trouve une foule de gens d'esprit, et on y parle franais ..BERLIOZ ET LE FESTIVAL DE BADE EN ALLEMAGNE : Bade tient une place de choix dans la longue histoire des rapports entre Berlioz et l'Allemagne : nulle autre ville allemande ne sera visite avec une telle frquence. De 1853 1863 le compositeur franais se rendra Bade plus d'une dizaine de fois et y retournera chaque anne partir de 1856. Ce qui l'amenait Bade : les Bnazet : le pre Jacques Bnazet (mort en 1848), puis le fils douard Bnazet (1801-1867) qui prit la succession de son pre la direction du casino de Bade. douard Bnazet, qui a tudi au Conservatoire de Paris, tait un homme cultiv qui entretenait de nombreuses connaissances dans le monde des arts. L'ambition de Bnazet tait de rehausser la petite ville thermale au rang de centre artistique qui attirerait l'lite de la socit europenne.Dans les annes 1850, Bnazet s'emploie raliser son projet ; il cre de nouvelles salles de jeux, un grand champ de course Iffezheim; un nouveau thtre qui ouvre ses portes avec l'opra de Berlioz Batrice et Bndict en 1862 (d'aprs la pice de Shalespeare "Beaucoup de bruit pour rien"). Mais, Bnazet, se dsintresse peu peu de Bade. Dans une lettre Camille Pal, Berlioz livre sa crainte...de perdre 2000 f de rente, par cessation de mon engagement annuel pour Bade, la suppression des jeux est toujours annonce et ds lors plus de musique. En outre, Bnazet parat dcid ne plus donner de festival... David Hermann Engel avait tenu l'harmonium au festival de Bade en 1859.Correspondance gnrale d'Hector Berlioz (P. Citron - Mac Donald, Flammarion 2001), Vol. VII, N 2859.

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BERLIOZ, Hector 1803-1869Biblio.com

Autograph musical sketchleaf from the composer's opera Benvenuto Cellini

réf. 416811 leaf. Oblong folio 268 x ca. 170 mm. 7 measures notated in black ink on one side of the leaf. Unsigned. Several notes crossed out and a final passage rewritten. A first draft of a polyphonic theme. Identified in German in contemporary manuscript at head: "Handschrift von Hector Berlioz Erste Skizze. Benvenuto Cellini." Some wear and browning; slightly creased at folds; lower edge unevenly trimmed. The present manuscript not recorded in Holoman. Benvenuto Cellini an opéra semi-seria in two acts to a libretto by Léon de Wailly and Auguste Barbier assisted by Alfred de Vigny was based on the memoirs of Benvenuto Cellini. Set in 16th century Rome during the papacy of Clement VII the work premiered in Paris on 10 September 1838 at the Opéra and was produced in a revised version in Weimar at the Grossherzogliches Hoftheater on 20 March 1852 and with further revision in three acts on 17 November 1852. "Whether it originated as a serious or a comic opera the result in all its many versions is a compound a characteristic blend of idealism and farce grandeur and wit breadth and vivacity. Berlioz poured into Benvenuto Cellini every drop of invention and feeling at his command in a torrent of notes that make up a long and very lively opera and its heterogeneity so baffling to Parisians in 1838 and Londoners in 1853 is one of its main virtues." Macdonald: Berlioz p. 106. "Berlioz stands as the leading musician of his age in a country France whose principal artistic endeavour was then literary in an art music whose principal pioneers were then German. In many senses the Romantic movement found its fullest embodiment in him yet he had deep Classical roots and stood apart from many manifestations of that movement. His life presents the archetypal tragic struggle of new ideas for acceptance to which he gave his full exertions as composer critic and conductor. And though there were many who perceived greatness in his music from the beginning his genius only came to full recognition in the 20th century. . In Berlioz's own words Benvenuto Cellini 'contains a variety of ideas an energy and exuberance and a brilliance of colour such as I may perhaps never find again.' " Hugh Macdonald in Grove Music Online A rare working manuscript from one of Berlioz's important stage works evidencing the compositional process through its autograph revisions. While short musical quotations in Berlioz's hand are not rare his sketch leaves are very rare to the market; we have located only one example at auction in over 30 years. unknown

J & J Lubrano Music Antiquarians LLC · États-Unis3 450,00 $US≈ 3 076,24 €

BERLIOZ, Hector 1803-1869ABAA

Autograph musical sketchleaf from the composer's opera Benvenuto Cellini

J & J Lubrano Music Antiquarians LLC · États-Unis3 450,00 $US≈ 3 076,24 €

BERLIOZ, Hector 1803-1869Biblio.com

Autograph musical quotation from the composer's masterpiece the Symphonie Fantastique. Signed. Together with quotations by Roger Adam and Halévy

réf. 4168015 measures titled and signed below the music: "Thème e Bal e La Symphonie Fantastique. H. Berlioz." Undated but ca. 1840-1850. The complete main theme of the second movement "Un Bal" carried by the violins in measures 38 to 54 of the full score. 1 leaf. Notated in dark brown ink within decorative dark gold borders on Lard-Esnault paper. Oblong quarto 227 x 300 mm. "The composition of the 'Symphonie fantastique' was a momentous event in Berlioz's career his first full-scale masterpiece and equally momentous in the history of music as the first unequivocal declaration of romantic ideas in style and musical language and its echo has pervaded all music of passion and personal experience to this day . Of Harriet Smithson's identity as the 'beloved' portrayed by an 'idée fixe' in the form of an obsessive theme that recurs in all the movements there can be no question." MacDonald: Berlioz p. 18. With: - Roger Gustave-Hippolyte 1825-1879. Autograph musical quotation signed "G. Roger" being a 12-measure song for voice and piano commencing "d'autiens tu beau miage" to lower portion of recto. With to verso: - Adam Adolphe 1803-1856. Autograph musical quotation signed "Ad. Adam" being a 16-measure waltz for pian. - Halévy Fromental 1799-1862. Autograph musical quotation signed "F. Halévy" being a 22-measure work for piano titled "Suite." A dynamic excerpt from one of the great revolutionary works of the Romantic period constructed around a recurring "idée fixe" a concept originating with Berlioz's revolutionary Symphonie Fantastique and presenting here as a recurring theme associated with Berlioz's obsession with Irish actress Harriet Smithson. A unique artifact incorporating a rare quotation from one of the most outstanding works of the symphonic repertoire of the Romantic period the whole linking Berlioz with three important French musical figures of the mid-19th century. unknown