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Hector Berlioz, Incomplete Operas, edited by Ric Graebner and Paul Banks. New Berlioz Edition, vol. 4 (Kassel: Bärenreiter, 2002). xxvi + 345 pp. €268. - Hector Berlioz, Arrangements of Works by Other Composers (II), edited by Ian Rumbold. New Berlioz Edition, vol. 22b (Kassel: Bärenreiter, 2004). xxxiv + 408 pp. €330.

Published online by Cambridge University Press:  13 April 2011

Julian Rushton
Julian Rushton
Affiliation:
University of Leeds
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Type
Score Reviews
Information
Nineteenth-Century Music Review , Volume 3 , Issue 2 , November 2006 , pp. 212 - 216
Copyright
Copyright © Cambridge University Press 2006

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References

1 Balducci's ‘Ne regardez jamais la lune’, sung by Laurent Naouri in the version conducted by John Nelson with the Orchestre National de France; Virgin Classics, 5457062 (2004).

2 Cormac Newark mentions, in contrast to their mutual hostility, a collaboration between Berlioz and Castil-Blaze on Der Freischütz, but this episode is otherwise unknown; see Sadie, Stanley (ed.), The New Grove Dictionary of Music and Musicians, second edition, Vol. 5 (London: Macmillan, 2001): 263Google Scholar .

3 Paris, 1842, reprinted by Brandus and later as a Kalmus miniature score, No. 514.

4 As her second aria opens Act III, Berlioz only had to follow it. Stolz sang it in F and Berlioz jumped by descending fifths, in two bars, from F to Ef for the reminiscence of Annette's Act II aria. The Schlesinger score begins there, as it did not include the lower transpositions.

5 The Recueil de romances appeared in a modern edition by M. Henke and M. Stegemann (Heidelberg, c. 1986). See also Dallman, P. J., ‘Influences and Use of the Guitar in the Music of Hector Berlioz’, MA dissertation, University of Maryland, 1972Google Scholar .

6 Holoman, D. Kern, in his indispensable Catalogue of the Works of Hector Berlioz (NBE vol. 25, 1987)Google Scholar , and in Bartoli, J.-P. and Reynaud, Cécile, eds, Dictionnaire Berlioz (Paris: Fayard, 2003): 381Google Scholar , anticipated that the Nocturne would appear in NBE 15. Holoman identified the MS (No. 31 in his catalogue), which is in Berlioz's hand, as an autograph of considerably later date than the ‘Recueil’. This reviewer cast doubt on the authorship of this little piece (which is not in the OBE) in The Music of Berlioz (Oxford: Oxford University Press, 2001): 24Google Scholar .

7 These are included in Holoman's catalogue as H.122–123.

8 The prior work of Holoman on Les Francs-juges is duly acknowledged: see Holoman, , The Creative Process in the Autograph Musical Documents of Hector Berlioz, c.1818–1840 (Ann Arbor, UMI Research Press, 1980), 215–36Google Scholar ; the libretto, 291–336.

9 Macdonald, Hugh, ‘Berlioz's Self-borrowings’, Proceedings of the Royal Musical Association 92 (1965–1966): 27–44, at 40.CrossRefGoogle Scholar