LSO Live Berlioz Harold En Italie

Total Page:16

File Type:pdf, Size:1020Kb

LSO Live Berlioz Harold En Italie LSO Live CD Reviews Chos de l’année Le monde de la Musique Awards (France), 2003 Berlioz Harold en Italie Top 10 Classical CDs of the Year Ballet Music from Les Troyens Sunday Times (UK), 2003 Sir Colin Davis ‘Another outstanding Berlioz recording from the leading Tabea Zimmermann viola interpreter of the composer today and his peerless LSO. London Symphony Orchestra Tabea Zimmermann is superb in the symphonic trouser role of Byron’s Harold, digging into the viola’s strings with the Availability same sense of abandon as her illustrious conductor and Released July 2003 (UK release date) orchestral partners. Another triumph in the LSO’s Berlioz CD LSO0040 (822231104025) – UK srp £4.99 Odyssey’ download from all good digital music stores Record of the Month & Editor’s Choice Gramophone Magazine, September 2003 Description Sir Colin Davis returns to Berlioz in the year of the ‘Pour son deuxieme enregistrement de Harold en Italie, composer's bicentenary. His previous recordings in the Colin Davis trouve en Tabea Zimmermann le plus splendide series have won among others two Grammy Awards, a son d’alto d’aujourd’hui’ Gramophone Award and two Classical Brits, as well as three Choc du Monde de la Musique Editor's Choices in Gramophone Magazine. Le monde de la Musique (France), July/August 2003 Recording information ‘Colin Davis’s Berlioz is so much in a class of its own that any James Mallinson producer recording he makes comes automatically recommended. Tony Faulkner balance engineer (Harold en Italie) But this account seems to outstrip even Davis’s own … Simon Rhodes balance engineer (ballet music) The soloist is the marvellous Tabea Zimmermann; her noble A high density recording, live at the Barbican Centre on tone and commanding presence are perfectly etched against 16–17 February 2003 (Harold en Italie) and the orchestral backdrop.’ 3–8 December 2000 (ballet music) The Guardian (UK), 4 July 2003 Total playing time 52m18 ‘This is a scorcher … in Tabea Zimmermann it has a viola 20 page book with notes in English, French and German soloist as characterful as Davis’ conducting and the LSO’s playing’ Artistic quality 10 Sound quality 10 For further information visit lso.co.uk or contact Disc of the Month Chaz Jenkins Head of LSO Live ClassicsToday.com, July 2003 T +44 (0)20 7382 2516 E [email protected] continued over ... Gavin Bayliss LSO Live Product & Stock Manager T +44 (0)20 7382 2543 E [email protected] Page 1 of 2 ‘poetic, exciting and beautifully shaped. Tabea Zimmermann gives a remarkable account of the viola part … Her control of dynamics is extraordinary. The orchestral soloists are equally superb’ Sunday Telegraph (UK), 6 July 2003 ‘Davis remains an incomparable Berliozian, relishing the composer’s astonishingly pictorial orchestral panoramas as if encountering them for the first time. And Zimmermann is his best “Harold” yet, perfectly capturing the aching, yearning soul of the score’s unifying character’ Classical CD of the Week Also available Sunday Times (UK), 15 June 2003 Berlioz Les Troyens – Sir Colin Davis Ben Heppner, Michelle DeYoung, Petra Lang 5 Diapason 4CD LSO0010 Diapason (France), July/August 2003 Berlioz Édition du bicentenaire – Sir Colin Davis 12CD LSO0046 ‘the performance appears even more beautiful than it was live. There are not many viola gods or goddesses in the world, but Zimmermann is one … Davis brings formidable experience and maturity to his job as master of revels’ The Times (UK), 8 July 2003 Also available ‘Soloist Tabea Zimmermann gets the sound just right. Her Berlioz La damnation de Faust – Sir Colin Davis sound is sensuously rich … Davis relishes the emotional Giuseppe Sabbatini, Michele Pertusi, Enkelejda Shkosa extravagance of it all’ 2CD LSO0008 Evening Standard (UK), 1 July 2003 Berlioz Béatrice et Bénédict – Sir Colin Davis Enkelejda Shkosa, Kenneth Tarver, Sara Mingardo 2CD LSO0004 Berlioz Roméo et Juliette – Sir Colin Davis Daniela Barcellona, Kenneth Tarver, Orlin Anastassov 2CD LSO0003 Berlioz Symphonie fantastique – Sir Colin Davis CD LSO0007 For further information visit lso.co.uk or contact Chaz Jenkins Head of LSO Live T +44 (0)20 7382 2516 E [email protected] Gavin Bayliss LSO Live Product & Stock Manager T +44 (0)20 7382 2543 E [email protected] Page 2 of 2.
Recommended publications
  • Gardiner's Schumann
    Sunday 11 March 2018 7–9pm Barbican Hall LSO SEASON CONCERT GARDINER’S SCHUMANN Schumann Overture: Genoveva Berlioz Les nuits d’été Interval Schumann Symphony No 2 SCHUMANN Sir John Eliot Gardiner conductor Ann Hallenberg mezzo-soprano Recommended by Classic FM Streamed live on YouTube and medici.tv Welcome LSO News On Our Blog This evening we hear Schumann’s works THANK YOU TO THE LSO GUARDIANS WATCH: alongside a set of orchestral songs by another WHY IS THE ORCHESTRA STANDING? quintessentially Romantic composer – Berlioz. Tonight we welcome the LSO Guardians, and It is a great pleasure to welcome soloist extend our sincere thanks to them for their This evening’s performance of Schumann’s Ann Hallenberg, who makes her debut with commitment to the Orchestra. LSO Guardians Second Symphony will be performed with the Orchestra this evening in Les nuits d’été. are those who have pledged to remember the members of the Orchestra standing up. LSO in their Will. In making this meaningful Watch as Sir John Eliot Gardiner explains I would like to take this opportunity to commitment, they are helping to secure why this is the case. thank our media partners, medici.tv, who the future of the Orchestra, ensuring that are broadcasting tonight’s concert live, our world-class artistic programme and youtube.com/lso and to Classic FM, who have recommended pioneering education and community A warm welcome to this evening’s LSO tonight’s concert to their listeners. The projects will thrive for years to come. concert at the Barbican, as we are joined by performance will also be streamed live on WELCOME TO TONIGHT’S GROUPS one of the Orchestra’s regular collaborators, the LSO’s YouTube channel, where it will lso.co.uk/legacies Sir John Eliot Gardiner.
    [Show full text]
  • Les Nuits D'été & La Mort De Cléopâtre
    HECTOR BERLIOZ Les nuits d'été & La mort de Cléopâtre SCOTTISH CHAMBER ORCHESTRA ROBIN TICCIATI CONDUCTOR KAREN CARGILL MEZZO-SOPRANO HECTOR BERLIOZ Les nuits d’été & La mort de Cléopâtre Scottish Chamber Orchestra Robin Ticciati conductor Karen Cargill mezzo-soprano Recorded at Cover image The Usher Hall, Dragonfly Dance III by Roz Bell Edinburgh, UK 1-4 April 2012 Session photos by John McBride Photography Produced and recorded by Philip Hobbs All scores published by Bärenreiter-Verlag, Kassel Assistant engineer Robert Cammidge Design by gmtoucari.com Post-production by Julia Thomas 2 Les nuits d’été 1. Villanelle ......................................................................................2:18 2. Le spectre de la rose .................................................................6:12 3. Sur les lagunes ............................................................................5:50 4. Absence ......................................................................................4:45 5. Au cimetière ...............................................................................5:32 6. L’île inconnue .............................................................................3:56 Roméo & Juliette 7. Scène d’amour ........................................................................16:48 La mort de Cléopâtre 8. Scène lyrique ..............................................................................9:57 9. Méditation.................................................................................10:08 Total Time: ......................................................................................65:48
    [Show full text]
  • Berlioz's Orchestration Treatise
    Berlioz’s Orchestration Treatise A Translation and Commentary HUGH MACDONALD published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarc´on 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface New Baskerville 11/13 pt. System LATEX2ε [TB] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Berlioz, Hector, 1803–1869. [Grand trait´e d’instrumentation et d’orchestration modernes. English] Berlioz’s orchestration treatise: a translation and commentary/[translation, commentary by] Hugh Macdonald. p. cm. – (Cambridge musical texts and monographs) Includes bibliographical references and index. ISBN 0 521 23953 2 1. Instrumentation and orchestration. 2. Conducting. I. Macdonald, Hugh, 1940– II. Title. III. Series. MT70 .B4813 2002 781.374–dc21 2001052619 ISBN 0 521 23953 2 hardback Contents List of illustrations
    [Show full text]
  • Harold En Italie Les Nuits D'été
    HECTOR BERLIOZ Harold en Italie Les Nuits d’été Les Siècles François-Xavier Roth Tabea Zimmermann Stéphane Degout FRANZ LISZT HECTOR BERLIOZ (1803-1869) Harold en Italie Symphonie avec un alto principal en 4 parties, op. 16, H. 68 D’après Childe Harold’s Pilgrimage de George Gordon Byron 1 | No 1. Harold aux montagnes. Scènes de mélancolie, de bonheur et de joie. Adagio - Allegro 15’14 2 | No 2. Marche de pèlerins chantant la prière du soir. Allegretto 7’51 3 | No 3. Sérénade d'un montagnard des Abruzzes à sa maîtresse. Allegro assai 5’58 4 | No 4. Orgie de brigands. Souvenirs des scènes précédentes. Allegro frenetico 11’44 Les Nuits d'été Six mélodies avec un petit orchestre, op. 7, H. 81B Poèmes de Théophile Gautier (extraits de La Comédie de la mort) 5 | 1. Villanelle, H. 8 2’12 6 | 2. Le Spectre de la rose, H. 83 6’40 7 | 3. Sur les lagunes - Lamento, H. 84 5’43 8 | 4. Absence, H. 85 5’45 9 | 5. Au cimetière - Clair de lune, H. 86 5’41 10 | 6. L'Île inconnue, H. 87 3’37 Tabea Zimmermann, alto Stéphane Degout, baryton Les Siècles, François-Xavier Roth Les Siècles (instruments d’époque, cordes en boyaux) Violons I François-Marie Drieux Amaryllis Billet, Laure Boissinot, Pierre-Yves Denis, Hélène Marechaux, Jérôme Mathieu, Simon Milone, Sébastien Richaud, Laetitia Ringeval, Noémie Roubieu, Matthias Tranchant, Fabien Valenchon Violons II Martial Gauthier David Bahon, Virgile Demillac, Caroline Florenville, Julie Friez, Chloé Jullian, Mathieu Kasolter, Arnaud Lehmann, Thibaut Maudry, Jin-Hi Paik, Rachel Rowntree, Marie-Laure Sarhan Altos
    [Show full text]
  • Information to Users
    INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17”x 23" black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6”x 9” black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. Order Number 8717594 The future of the symphony orchestra based upon its historical development Winteregg, Steven Lee, D.M .A. The Ohio State University, 1987 UMI 300 N. Zeeb Rd. Ann Arbor, M I 48106 PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V .
    [Show full text]
  • 2014-2015 Philharmonia No. 4
    Lynn Philharmonia No. 4 2014-2015 Season Lynn Philharmonia Roster VIOLIN CELLO FRENCH HORN JunHeng Chen Patricia Cova Mileidy Gonzalez Erin David Akmal Irmatov Mateusz Jagiello Franz Felkl Trace Johnson Daniel Leon Wynton Grant Yuliya Kim Shaun Murray Herongia Han Elizabeth Lee Raul Rodriguez Xiaonan Huang Clarissa Vieira Clinton Soisson Julia Jakkel Hugo Valverde Villalobos Nora Lastre Shuyu Yao Jennifer Lee DOUBLE BASS Lilliana Marrero August Berger Cassidy Moore Evan Musgrave TRUMPET Yaroslava Poletaeva Jordan Nashman Zachary Brown Vijeta Sathyaraj Amy Nickler Ricardo Chinchilla Yalyen Savignon Isac Ryu Marianela Cordoba Kristen Seto Kevin Karabell Delcho Tenev FLUTE Mark Poljak Yordan Tenev Mark Huskey Natalie Smith Marija Trajkovska Jihee Kim Anna Tsukervanik Alla Sorokoletova TROMBONE Mozhu Yan Anastasia Tonina Mariana Cisneros Zongxi Li VIOLA OBOE Derek Mitchell Felicia Besan Paul Chinen Emily Nichols Brenton Caldwell Asako Furuoya Patricio Pinto Hao Chang Kelsey Maiorano Jordan Robison Josiah Coe Trevor Mansell Sean Colbert TUBA Zefang Fang CLARINET Joseph Guimaraes Roberto Henriquez Anna Brumbaugh Josue Jimenez Morales Miguel Fernandez Sonnak Jacqueline Gillette Nicole Kukieza Jesse Yukimura Amalia Wyrick-Flax Alberto Zilberstein PERCUSSION BASSOON Kirk Etheridge Hyunwook Bae Isaac Fernandez Hernandez Sebastian Castellanos Parker Lee Joshua Luty Jesse Monkman Ruth Santos 2 Lynn Philharmonia No. 4 Guillermo Figueroa, music director and conductor Saturday, February 7 – 7:30 p.m. Sunday, February 8 – 4 p.m. Keith C. and Elaine Johnson Wold Performing Arts Center Märchen von der schönen Melusine, Op. 32 Felix Mendelssohn (1809-1847) Concerto for Flute and Orchestra (2013) Behzad Ranjbaran (b. 1955) Jeffrey Khaner, flute INTERMISSION Harold en Italie, H 68 (1834) Hector Berlioz (1803-1869) Harold aux montagnes.
    [Show full text]
  • Berlioz's Les Nuits D'été
    Berlioz’s Les nuits d’été: Masterful Orchestration as a Vehicle for Text Expression Katherine Anne Sundstrom Advisor: Gurminder K. Bhogal, Music Submitted in Partial Fulfillment of the Prerequisite for Honors in Music April 2014 © 2014 Katherine Anne Sundstrom 2 I thought I saw heaven open, a heaven of love and chaste delight, a thousand times purer and more beautiful than the one I had so often been told about. Such is the magic power of true expression, the incomparable beauty of melody that comes from the heart! Berlioz 3 Acknowledgments This is the culmination of a truly incredible thesis experience. There are many people who have contributed to it and made it the life-changing experience it has been. I would like to thank Professor Bhogal for being such a supportive advisor. I was so blessed to have an advisor who truly wanted my thesis experience to be the best experience it could be for me. Thank you for believing in me, for being so patient, and for opening my eyes to my own capabilities as a student and scholar of music. I owe much of my growth over the last four years, both as a musician and person, to my voice teacher Marion Dry. The guidance she has provided me with and the generosity she has shown me have defined my Wellesley experience. Marion encouraged me to pursue a performance thesis, suggested I study Les nuits d’été, and encouraged me to apply for the fellowship that funded my coachings. This incredible experience wouldn’t have happened without her dedication to my success.
    [Show full text]
  • Berlioz 150 Events Calendar 04
    BERLIOZ 150 CALENDAR OF EVENTS Date(s) Venue Programme/Work Organisation Conductor 5th May 2019 Barbican Hall, London Symphonie Fantastique London Symphony Orcherstra Sir Simon Rattle 9th May 2019 Usher Hall, Edinburgh, Scotland Symphonie Fantastique Scottish Chamber Orchestra Emmanuel Krivine Glasgow City Halls, Glasgow, 10th May 2019 Symphonie Fantastique Scottish Chamber Orchestra Emmanuel Krivine Scotland 16th May 2019 Bridgewater Hall, Manchester Symphonie Fantastique Hallé Sir Mark Elder 18th May - 10th July Glyndebourne, Lewes La Damnation de Faust Glyndebourne Robin Ticciati 2019 (13 performances) 25th-26th May 2019 Milton Court, Silk Street, London A Weekend Choral Workshop Guildhall Alumni Choir 16th June 2019 Barbican Hall, London Harold en Italie London Symphony Orchestra Gianandrea Noseda City of Birmingham Symphony 26th June 2019 Symphony Hall, Birmingham La Damnation de Faust Edward Gardner Orchestra Symphonie Fantastique preceded by works Trinity Laban Symphony 28th June 2019 Cadogan Hall, London Ewa Strusinska by Lili Boulanger and Henriette Renié Orchestra Les Nuits d’été 30th June 2019 St John’s Church, Waterloo Elgar Sinfonia of London Adrian Brown plus works by Elgar 27th July 2019 Gloucester Cathedral, Gloucester La Damnation de Faust Three Choirs Festival Adrian Partington Le Carnaval Romain Overture 30th July 2019 Gloucester Cathedral, Gloucester Three Choirs Festival plus works by Joubert/Elgar Les Nuits d’été 1st August 2019 Gloucester Cathedral, Gloucester Three Choirs Festival Martyn Brabbins plus works by
    [Show full text]
  • Roméo Et Juliette
    HECTOR BERLIOZ Roméo et Juliette ROBIN TICCIATI CONDUCTOR SWEDISH RADIO SYMPHONY ORCHESTRA & SWEDISH RADIO CHOIR HECTOR BERLIOZ (1803–1869) Roméo et Juliette DRAMATIC SYMPHONY FOR SOLOISTS, CHORUS AND ORCHESTRA, OP. 17 Robin Ticciati conductor Swedish Radio Symphony Orchestra Swedish Radio Choir Katija Dragojevic mezzo-soprano Andrew Staples tenor Alastair Miles bass Recorded live at concerts in the Berwaldhallen, Stockholm, Sweden, 3–8 November 2014 Produced by Philip Hobbs Recorded by Philip Hobbs and Johan Hyttnäs Post-production by Julia Thomas Cover image by Karen Taddeo Design by gmtoucari.com Edition by D. Kern Holoman (Bärenreiter, 1990) 1 Disc 1 No. 1 1. Introduction instrumentale : Combats – Tumulte – Intervention du Prince ....................................... 4:43 2. Prologue : Récitatif harmonique : « D’anciennes haines endormies » ............... 5:11 3. Strophes : « Premiers transports que nul n’oublie! » ............................ 6:01 4. « Bientôt de Roméo » – Scherzetto vocal : « Mab, la messagère » ... 3:20 No. 2 : Andante et Allegro 5. Roméo seul. Tristesse – Bruit lontain de bal et de concert ................. 6:57 6. Grande fête chez Capulet .................................................................... 5:55 No. 3 : Scène d’amour 7. Nuit sereine. Le jardin de Capulet, silencieux et désert ................... 18:53 Disc 2 No. 4 : Scherzo 1. La reine Mab, ou la Fée des songes ..................................................... 8:10 No. 5 : Convoi funèbre de Juliette 2. « Jetez des fleurs pour la vierge expirée! » ........................................... 9:29 No. 6 : Roméo au tombeau des Capulets 3. Roméo au tombeau des Capulets ...................................................... 1:33 4. Invocation – Réveil de Juliette – Joie délirante, désespoir, dernières angoisses et mort des deux amants .................................... 6:18 No. 7 : Final 5. La foule accourt au cimetière – Rixe des Capulets et des Montagus ....................................................................................
    [Show full text]
  • Manfred Symphony
    PETER ILYICH TCHAIKOVSKY MANFRED SYMPHONY Sit back and enjoy Peter Ilyich Tchaikovsky The redemption of himself to this and to its eponymous The Manfred Symphony: an experienced before his death at only Manfred Symphony, Op. 58 hero with zeal, and seemed to unrestrained self-portrait 36 years of age, was enough to cover Manfred even somewhat transform himself Romantic poet surrounded by several lifetimes: inheriting a title 1. Lento lugubre – Moderato con moto – Andante 17.27 into Manfred during the intensive scandal and strife-torn hero – the at 10 years old, entering the House 2. Vivace con spirito 9.57 Peter Ilyich Tchaikovsky’s Manfred is period of work. After all, he was literary model of Lords when he came of age; 3. Andante con moto 11.24 a hermaphrodite – at least, as far as also suffering from inner torment. Had George Gordon Noel Byron early travels to the Mediterranean 4. Allegro con fuoco 20.21 the music is concerned. For although And this can be heard in the music, lived in the present day, then the and further onwards to Asia Minor; the work (dating from 1885) was which appears to be full of inner abundant major and minor scandals instantaneous literary fame thanks 59.29 indeed dubbed by its creator as a conflict. Nowadays, Manfred that surrounded him would almost to Childe Harold’s Pilgrimage; social symphony, it still did not receive is rarely heard in the concert certainly have given the ever-hungry scandals following relationships a number alongside Tchaikovsky’s hall. Perhaps due to its rather tabloid press something to feast on.
    [Show full text]
  • Program Notes 5 by Robert Kirzinger Ah, the Viola
    PROGRAM NOTES 5 By Robert Kirzinger Ah, the viola. The viola doesn’t sound like a violin; nor does it sound like a cello. And yet it can encroach on the territory of either, growling and powerful (perhaps not quite as growly- powerful) as the cello, or bright and piercing and high (albeit not quite as high, or bright, or piercing) as the violin. Comparisons, though, are unnecessary: the viola is the viola. The instrument has been around as long as the violin, having been developed (from about 1500) as the alto member of the four-part string chorus. The French name for this instrument is “alto”; the German name is “Bratsche,” from the Italian “braccia,” for arm, meaning a viol-like instrument played by holding it on one’s arm, as opposed to the “viola da gamba,” held between the knees. (“Viola da braccia” initially seems to have meant violin or viola interchangeably.) llon A TA The viola’s unique sonic character is due to its resonating body being somewhat too IN T small to project optimally the pitches of its range; hence it has a darker, mellower tone than the violin or the cello. Composers have long made that character a strength, particularly Tonight’s PERFORMERS in ensemble music where the viola or a section of violas can support the harmony without overwhelming the melody, but also in passages that, more simply, call for the sound of the viola because it sounds like a viola. Except in comparison with those for the violin or FLUTE TRUMPET Lois Finkel Sarah Brady Terry Everson Julia Cash keyboard, viola concertos aren’t rare, ranging from the first fine ones by Telemann, Stamitz, Jessi Rosinski Eric Berlin Annegret Klaua and Rolla, through the Parnassus in the Romantic era, Berlioz’s symphony-concerto-tone Richard Watson JiYun Jeong poem Harold en Italie, written for Paganini.
    [Show full text]
  • The Serpent and Ophicleide As Instruments of Romantic Color In
    THE SERPENT AND OPHICLEIDE AS INSTRUMENTS OF ROMANTIC COLOR IN SELECTED WORKS BY MENDELSSOHN, BERLIOZ AND WAGNER Richard Sanborn Morgan, B.M.Ed, M.A. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2006 APPROVED: Donald C. Little, Major Professor Lenora McCroskey, Minor Professor J. Keith Johnson, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James H. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Morgan, Richard Sanborn, The Serpent and Ophicleide as Instruments of Romantic Color in Selected Works by Mendelssohn, Berlioz and Wagner. Doctor of Musical Arts (Performance), December 2006, 89 pp., 5 tables, 10 musical examples, bibliography, 80 titles. 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.
    [Show full text]