Thesis (doctoral)--Lyon, 1980. / Includes bibliographical references (p. 215-222).

Th. Doct.--Lille, 1999.

Diss.--Philosophie--Berlin, 2002. / Bibliogr. p. 375-382. Index.

Thesis (M.M.)--University of Wisconsin--Madison, 1952. / Typescript. Accompanied by miniature score of the Symphonie fantastique, annotated in pencil, in pocket (London : E. Eulenburg, 19--? (Edition Eulenburg no. 422)). Includes bibliographical references.

Thesis (M.M.)--University of Wisconsin--Madison, 1952. / Typescript. Accompanied by miniature score of the Symphonie fantastique, annotated in pencil, in pocket (London : E. Eulenburg, 19--? (Edition Eulenburg no. 422)). Title from title screen (viewed July 26, 2007). Includes bibliographical references. Online version of the print original.

The minor choral works are those exclusive of the well-known choral works. Symphonic movements for chorus are also excluded. Conflicting and incomplete information from the composer himself and from secondary sources were principal research problems. The published letters, the memoirs, and a small number of secondary sources, containing little more than passing references, form the body of the research material beyond the scores themselves. The arrangement is by opus number, with unpublished works inserted chronologically by date of composition. A description of the circumstances surrounding each work' s composition precedes a study of the music within each chapter. The last chapter delineates stylistic characteristics of the minor choral works.

Hector Berlioz (1803-1869) a effectué deux séries de concerts en Russie (en 1847 et 1867-1868, à Moscou et Saint-Pétersbourg). Le compositeur français lui-même considérait ces tournées comme les plus grands triomphes de sa carrière. Cette image d’un accueil massivement positif de Berlioz en Russie, fondée principalement sur les témoignages du compositeur lui-même, reste encore peu étudiée car les sources russes sont difficilement accessibles. La présente thèse a donc pour objectif de reconstituer l’histoire des relations entre Berlioz et la Russie, du vivant du compositeur, pour mieux comprendre les raisons de son succès. Grâce à des documents conservés dans les archives russes et jusqu’alors inédits – des articles de presse, des affiches, des dossiers administratifs, de la correspondance (dont trois nouvelles lettres de Berlioz) – nous présentons un récit plus nuancé des rapports entre Berlioz et la Russie. Ce travail est présenté sous trois angles : 1. La réception critique de Berlioz par la presse russe (environ 360 articles, publiés entre 1833 et 1869) et le rôle de cette dernière dans la formation de l’image de Berlioz ; 2. La pratique d’exécution des œuvres de Berlioz en Russie, aussi bien lors de ses visites qu’en son absence (y compris de nouveaux détails sur l’organisation de ses tournées) ; 3. Les contacts de Berlioz avec différents musiciens russes, comme M. Glinka, A. Verstovskij, V. Kologrivov, A. Lvov et M. Balakirev ; la dédicace de la Symphonie fantastique au tsar Nicolas Ier ; les arrangements par Berlioz de deux œuvres de D. Bortnânskij. Cette étude permet de mieux comprendre les relations artistiques entre la France et la Russie au XIXe siècle, mais également l’importance de Berlioz pour la culture et la musique russes. / French composer Hector Berlioz (1803-1869) organized two series of concerts in Russia (in 1847 and 1867-1868, in both Moscow and St. Petersburg). The musician himself considered these tours as the greatest triumphs of his career. This image of a massively positive reception of Berlioz in Russia – based primarily on his own accounts – has been little studied due to the inaccessibility of Russian sources. The goal of the present thesis is therefore to reconstruct the history of the relationship between Berlioz and Russia during the composer's lifetime, in order to better understand the reasons for his success. Drawing on unpublished documents from the Russian archives – press, posters, administrative files, correspondence (including three new letters from Berlioz) – we present a more nuanced account of the relationship between Berlioz and Russia. This theme is approached from three perspectives: 1. The critical reception of Berlioz in the Russian press (about 360 articles, published between 1833 and 1869) and the role of the press in the formation of Berlioz's image; 2. The performance of Berlioz's works in Russia, both during his visits and in his absence (with new details about the organization of his concert tours); 3. Berlioz's contacts with several Russian musicians, including M. Glinka, A. Verstovskij, V. Kologrivov, A. Lvov and M. Balakirev; his dedication of the Symphonie fantastique to tsar Nicholas I; his arrangements of two works by D. Bortnanskij. This study helps to better understand artistic relations between France and Russia in the 19th century, but also Berlioz's importance for Russian culture and music.

The discussion concentrates on Hector Berlioz's second opera, Les Troyens, which is Berlioz's final large work written between 1855-1858. The study demonstrates how the opera is unified through its drama and music. Les Troyens, a five-act tragic opera that is based on Virgil's Aeneid, is perhaps one of Berlioz's least known major works. The orchestral score had not been published in its entirety until 1969, when a two-volume edition of the opera was published by Bärenreiter in the New Edition of the Complete Works of Hector BerIioz. The first complete recording of Les Troyens, conducted by Colin Davis, was released by Philips records in 1972. These two sources have made an analysis of this important work of the nineteenth century possible. The study includes a survey of the dramatic influences of Virgil and his Aeneid, and the poetry of Shakespeare, in addition to the musical influences of Gluck's operas, the compositions of Lesueur, the symphonies of Beethoven, Weber's opera, Der Freischütz, and the French grand opera style, which all contributed to the opera.

No description available.

In this study the choral-orchestral compositions produced by Hector Berlioz are examined in detail for characteristics of musical form, textual setting, and methods of scoring for chorus and orchestra. Reasons for the preponderance of the choral-orchestral medium in Berlioz' output are examined in two introductory chapters. The initial chapter concerns Berlioz' personal experiences as an observer, conductor, and critic of choral music, while the second is devoted to Parisian customs in regard to the choral-orchestral medium during the eighteenth and early nineteenth centuries. Included in the historical chapter is a discussion of the haute-contre (high tenor or countertenor) voice preferred in French choruses of that period plus a short review of French orchestral practices, operatic choruses, the French Chapel, Parisian concert societies, and the Paris Conservatory. Especially important is the segment on revolutionary musical fetes which fostered grandiose compositions for chorus and instruments of extremely simple structure. Berlioz' sense of form was governed by his Gallic heritage and for this reason many critics have accused him of formlessness, when in fact his compositions invaribly revolve around a succinct formal plan, admirably executed. Berlioz added to the conservative French tradition which favored the strophe and the Rondeau (an unvarying refrain following disparate couplets) a decidedly learned and classical approach to music structuring; unfortunately, this unique combination of academic compositional techniques and Gallic forms has been a source of perplexity for analysts in search of traditional Germanic forms. Surprisingly, Berlioz makes frequent use of such complex compositional devices as augmentation, fugato, canon, pedal point, and even cantus firmus.