Beethoven's Fifth Symphony & Berlioz's Symphonie Fantastique ..

Even with this new found idea (although it obviously changed a bit), it still was another year until the transition of instruments to voice finalized. He found it difficult to suddenly introduce a chorus of voices after a long instrumental symphony; it was simply incongruous. His final conclusion on this difficulty reflects on the aesthetic struggle he encountered while writing the fourth movement; this movement is quite unusual in its structure. In brief, the movement begins with an outraged, tumultuous, flurry of sound; then a restatement of the prior three movements, each interrupted and rejected by instrumental recitative. Finally, a new theme, initially hesitantly advanced by the orchestra, is slowly accepted, ending in a triumphant statement of the new theme in D Major. Then the previous instrumental recitative transforms into real recitative, with a solo baritone singing: O friends, not these tones; instead let us sing more pleasing and joyful ones. Berlioz calls this the "treaty of alliance between chorus and orchestra." (Plantiga, 65) Then the more joyful tones are the first lines of the poem. Beethoven chose to emphasize two ideals: the universal brotherhood of man through joy, and the love of the heavenly father. Throughout the fourth movement, there is a general trend from the terrestrial to the divine.

Berlioz expresses himself quite innovatively in the symphony as is evident by ..

Arlecchino and Doktor Faust are quintessential Busoni and taken together, constitute his testament. Arlecchino is called a comedy of masks and projects Busoni’s persona of wit, esprit and skepticism divine sarcasm in its briefest, most allusive manner . . . for concision and wealth of invention, Arlecchino does not suffer from comparison with Falstaff nor with the most mercurial pages of Berlioz.


The Hector Berlioz Website: Berlioz and Beethoven

Please click button to get beethoven and berlioz paris and vienna book now

The first Beethoven Ninth conducted by Toscanini with the NBC had him untypically pleased. Here it is in excellent sound for the era. The second CD offers the entire concert of 5 April 1941: Rossini, Mendelssohn, and Berlioz. Another offering for Toscanini’s 150th anniversary


Playlist for January 2, 2018 | Classical MPR

Strauss)
Disc XV Get Your Program (Sibelius, Smetana, Holst)
Disc XVI New Currents (Prokofiev, Bartók, Shostakovich)
Disc XVII A World Re-Arranged (Barber, Britten, Ives, Stravinsky)
Disc XVIII Viva Espagna (Rodrigo, Sor, Albéniz, Villa-Lobos, Moreno Torroba)
Disc XIX Lasting Impressions (Ravel, Debussy)
Disc XX 12 Points of View (Berg, Webern, Schoenberg)
Disc XXI Minimalism (Rihm, Adams, Glass)
Disc XXII Opera – Orchestra (Bizet, Mozart, Mascagni, Rossini, Wagner etc)
Disc XXIII Opera – Aria (Mozart, Verdi, Puccini, Rossini, Wagner, Leoncavallo)
Disc XXIV Opera - Duets & Chorus (Weber, Verdi, Beethoven, Purcell)

Classical Net - Books About Music - History

- Deutsche Gramophone

Tracklist:

Disc I Music of The Middle Ages (Pérotin, de Machaut)
Disc II Music of the Renaissance (Anonymus, Dufay, Desprez, Dowland, Byrd)
Disc III Baroque Vocal (Bach, Handel)
Disc IV Baroque Instrumental (Pachelbel, Handel, Bach, Vivaldi, Purcell)
Disc V The Classical Symphony (Haydn, Mozart, Beethoven)
Disc VI The Classical Concerto (Haydn, Mozart, Beethoven)
Disc VII A Trip to France (Berlioz, Cherubin, Auber)
Disc VIII The Romantic Symphony (Schubert, Brahms)
Disc IX Cycles and Songs (Schumann, Beethoven, Schubert)
Disc X The Virtuoso I (Chopin, Brahms, Liszt)
Disc XI The Virtuoso II (Tchaikovsky, Mendelssohn)
Disc XII The Romantic Cello (Dvorák, Elgar)
Disc XIII The Virtuoso III (Schumann, Rachmaninov)
Disc XIV Big Voice, Big Orchestra (Brahms, Wagner, Mahler, R.

The Top Ten Greatest Operas —The Imaginative …

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