La Grande Messe des morts d’Hector Berlioz se remarque entre autres choses par la variété de styles et le changement rapide de climats expressifs. Son écriture novatrice éveille l’émotion du public en cultivant de nombreux effets d’inattendus que la presse de l’époque a soulignés lors de la création. Comment caractériser les différents styles musicaux sur lesquels le Requiem s’articule ? Comment le compositeur captive et éveille-t-il l’émotion de l’auditeur ? Comment l’auditeur perçoit-il la stratégie déployée par le compositeur ? La présente thèse a pour but d’éclaircir le fonctionnement des matériaux musicaux variés chez Berlioz, le mécanisme de la communication compositeur-auditeur et sa conception de la musique « sacrée ». L’étude de la rhétoricité du Requiem est fondée sur quatre enquêtes successives fondées sur la théorie de la communication musicale de Jean Molino et Jean-Jacques Nattiez et l’analyse de la rhétoricité selon Jean-Pierre Bartoli : 1. étude du processus génétique de la composition (analyse de la poïétique externe) ; 2. étude de la critique de la presse musicale (analyse de l’esthésique externe) ; 3. étude des principes du développement et forme narrative (analyse de la poïétique inductive) ; 4. étude des jeux sur l’attente ménagés par le compositeur (analyse de l’esthésique inductive). De cette recherche, on conclut que Berlioz réussit à concilier l’intensité dramatique et la religiosité à travers un certain art du discours, qui maintient l’unité de l’œuvre dans la variété de ses climats, des topiques exploités et des styles d’écriture. / Hector Berlioz’s Grande Messe des morts has been particularly recognized by its variety of styles and the rapid change of expressive atmospheres. His innovative style arouses public’s emotion by cultivating a great number of unexpected effects that the music press in time of its first performance emphasized. How can be characterized various musical styles which connect with one another in this Requiem? How does the composer behave to attract the audience and to arouse their emotion? How did the audience feel composer’s strategy which was deployed in this work? This thesis aims to make clear the function of various musical materials in his composition, a communication mechanism established between composer and audience, and his conception of the “sacred” music. A study of rhetoric in his Requiem is founded on four successive analyses, inspired by Jean Molino and Jean-Jacques Nattiez’s musical communication theory and Jean-Pierre Bartoli’s rhetoric analysis: 1. study of the creative process of the composition (analysis of the external poïétique); 2. study of the music criticism of press articles (analysis of the external esthésique); 3. study of the principal of the music’s development and its formal narrativity (analysis of the inductive poïétique); 4. study of the tactics on audience’s expectation handled by the composer (analysis of the inductive poïétique). This study concluded that Berlioz succeeded in managing the dramatic intensity and the religiousness through a certain art of discourse, which maintains the work’s unity with a variety of atmospheres, musical topics and styles.

This dissertation explores what it is that makes Les nuits d’été such an effective musical composition. This is done by analysing the song cycle according to Terry Eagleton’s four categories of psychoanalytical literary criticism. The death of Berlioz’s mother, with whom he had an unresolved conflict at the time of her death, is proposed as the emotional trigger that led to the composition of these songs. The content and form of the music to which he set them reveals a narrative that closely corresponds to Freud’s description of the Oedipal conflict and its successful resolution. Using the psychoanalytical theories of Lacan, Barthes, Kristeva and others, the subliminal catharsis of Berlioz’s song cycle, in the way that it is transposed to the listener through the mediation of the music, is proposed as the reason why Les nuits d’été is such an effective musical composition. / Art History, Visual Arts and Musicology / M.A. (Musicology)

I denna uppsats har jag sammanställt olika teorier kring rytmik och metrik för att skapa en metod för analys av klassiska verk. Denna metod använder jag sedan på musik av Hector Berlioz för att undersöka om det finns rytmiska och metriska abstrakt som står ut. Vidare används resultatet från analysen för att skriva ett eget stycke som ska reflektera det studerade styckets rytmiska karaktär. Under projektet upptäcker jag bland annat att aspekter av frasrytm är något svårare att inkorporera i ett nytt stycke än andra aspekter och reflekterar slutligen kring hur metoden kan utvidgas och förbättras, samt kring mitt förhållande till metoden ur ett konstnärligt perspektiv.

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Sowohl in der Musikgeschichte als auch in Bulgakovs Roman treten Strawinsky und Berlioz fiir immer Seite an Seite auf.

La pratique des interprètes de Berlioz qui créèrent Benvenuto Cellini, La Damnation de Faust et Béatrice et Bénédict gagne à être mieux connue : ils observaient d’autres traditions que les nôtres, et saisir leurs usages et leur contexte artistique offre un autre regard sur les œuvres. La présente thèse examine le cadre de travail de ces artistes, c’est-à-dire leurs formations, leurs carrières, le déroulement des répétitions d’une œuvre et les corps de métier convoqués, mais aussi les écoles de jeu, de chant, et les étapes de préparation d’un rôle. Ces artistes seront aussi présentés, en particulier ceux qui jouèrent dans les scènes comiques des œuvres concernées. Les derniers chapitres, qui explorent la manière dont les œuvres du corpus furent interprétées sur les scènes de l’Opéra et du théâtre de Bade, ainsi qu’à l’Opéra-Comique et au théâtre de Weimar, mêlent l’ensemble de ces sources et croisent aspect scéniques et musicaux. / The practices of the performers who first produced Berlioz’s Benvenuto Cellini, La Damnation de Faust and Béatrice et Bénédict deserves to be better known: they followed other traditions than ours, and to understand their habits, practices and artistic context offers another way of conceiving these musical works. The present thesis considers the framework in which these artists worked, that is to say their training, their careers, the progress of the rehearsal of an opera and the trades involved, as well as the schools of acting, of singing, and the preparation of a role. The individual artists will also be introduced, in particular those who played in the comic scenes of the concerned works. The last chapters, which explore the way in which the corpus’ works were performed on the stage of the Paris Opera and the theater of Bade, as well as at the Paris Opera-Comic and the theater of Weimar, mix all these sources and documents and combine musical and scenic elements.

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Traditional scholarship has stated that the serpent and ophicleide (as well as their successor, the tuba) were developed and added to the standard orchestra to add a bass voice to the brass, allowing a tonal compass to match a similar downward expansion in the strings and woodwinds. A closer reading of the earliest scores calling for these instruments reveals a more coloristic purpose, related to timbre as much as to compass. Indeed, the fact that composers rarely wrote for serpent and ophicleide makes two points: it proves them to be inadequate choices as a brass bass, and when they were called for, they had an expressive, often descriptive purpose. Despite his conservative musical education supervised by Carl Friedrich Zelter, the seventeen-year-old Mendelssohn, under the influence of A. B. Marx, used the Corno inglese di basso, an upright version of the serpent, in his Overture to A Midsummer Night's Dream to give a more rustic flavor to Bottom's ass-braying. Even when the English bass horn functioned as a bass voice, it was playing in contexts that were descriptive, where it often demonstrated its musical inadequacy. Berlioz's descriptive writing for the serpent and ophicleide are well known. A remarkable feature which Symphonie fantastique shares with works by the other composers is the confidence Berlioz showed in the ophicleide's functional independence by occasionally giving it an arpeggiated figure while the rest of the orchestra sustains the chord. Wagner's writing for the serpent and ophicleide in Rienzi follows the less imaginative conventions of French grand opera. In Der fliegende Holländer the ophicleide, while not used as descriptively as Mendelssohn and Berlioz, nevertheless contributes significantly to Wagner's emerging focus on the inner lives of his characters and expressive commentary on the stage action. Tubists should consider the expressive implications and the unique timbre of these instruments when performing works originally written for the forerunners of the tuba.