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A collection of essays and short object lessons on the composer Hector Berlioz, published in collaboration with the Bard Music Festival. Hector Berlioz (1803-1869) has long been a difficult figure to place and interpret. Famously, in Richard Wagner's estimation, he hovered as a "transient, marvelous exception," a composer woefully and willfully isolated. In the assessment of German composer Ferdinand Hiller, he was a fleeting comet who "does not belong in our musical solar system," the likes of whom would never be seen again. For his contemporaries, as for later critics, Berlioz was simply too strange--and too noisy, too loud, too German, too literary, too cavalier with genre and form, and too difficult to analyze. He was, in many ways, a composer without a world.
Berlioz and His World takes a deep dive into the composer's complex legacy, tracing lines between his musical and literary output and the scientific, sociological, technological, and political influences that shaped him. Comprising nine essays covering key facets of Berlioz's contribution and six short "object lessons" meant as conversation starters, the book reveals Berlioz as a richly intersectional figure. His very difficulty, his tendency to straddle the worlds of composer, conductor, and critic, is revealed as a strength, inviting new lines of cross-disciplinary inquiry and a fresh look at his European and American reception.
A propos de l'auteur
Francesca Brittan is associate professor of music at Case Western Reserve University. She is the author of
Music and Fantasy in the Age of Berlioz and coeditor of
The Attentive Ear: Sound, Cognition, and Subjectivity, 1800-1930. She serves as coeditor of the
Journal of Musicology and general editor of the series Recent Researches in Nineteenth- and Twentieth-Century Music for A-R Editions.
Sarah Hibberd is the Stanley Hugh Badock Chair of Music at the University of Bristol. She is the author of
French Grand Opera and the Historical Imagination and coeditor of
Music and the Sonorous Sublime in European Culture, 1680-1880. She serves as coeditor of the
Cambridge Opera Journal and is on the editorial board of
Music & Letters.
