Brief Observations on Berlioz's "Herminie". / Charlton, David.

In: The Hector Berlioz Website, 2007.

Research output: Contribution to non-peer-reviewed publicationInternet publication

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Brief Observations on Berlioz's "Herminie". / Charlton, David.

In: The Hector Berlioz Website, 2007.

Research output: Contribution to non-peer-reviewed publicationInternet publication

Harvard

APA

Vancouver

Charlton D. Brief Observations on Berlioz's "Herminie". The Hector Berlioz Website. 2007.

Author

Charlton, David. / Brief Observations on Berlioz's "Herminie". In: The Hector Berlioz Website. 2007.

BibTeX

@misc{860ecef3763648b1b92458fd7c3b1c7f,
title = "Brief Observations on Berlioz's {"}Herminie{"}",
abstract = "This essay centres on several areas of interest in Berlioz's second Prix de Rome cantata, 'Herminie' (1828), where the first version of the 'id{\'e}e fixe' from the later 'Symphonie fantastique' was used. 'Herminie' is a dramatic monologue deriving from Torquato Tasso's epic, 'Gerusalemme liberata' (c. 1575). Erminia, princess of Antioch, is protected by Tancred, to whom she is secretly attracted. In Canto 6, during a pause in Tancred's first duels with Argantes, Erminia undertakes a dangerous night-time excursion to try and help Tancred. The dramatic monologue that the Paris students were to set to music expresses Erminia's tortured emotions and eventual resolve to set out on horseback. An intensive enquiry into the role of the later-famous 'id{\'e}e fixe' theme within the cantata (including the interpretations of David Cairns, Julian Rushton, Hugh Macdonald, Oliver Vogel and R{\'e}my Stricker) concludes that it is a 'Tancr{\`e}de theme'; and a final section extends the enquiry into the way that Berlioz (writing 'Herminie' in a way that uses this theme flexibly in different dramatic situations) was also digesting the experience of hearing Beethoven's Third and Fifth Symphonies for the first time in the spring of 1828. The cantata shows that Berlioz was discovering how a musical theme carrying fixed emotional associations vested in a love-object could be combined in a changing musical scenario. These ideas became carried into his own later symphony. ",
keywords = "Berlioz, Prix de Rome cantatas, Beethoven, Tasso, Gerusalemme liberata, analysis, id{\'e}e fixe",
author = "David Charlton",
year = "2007",
language = "English",
journal = "The Hector Berlioz Website",
publisher = "Michael Austin, Monir Tayeb ",

}

RIS

TY - GEN

T1 - Brief Observations on Berlioz's "Herminie"

AU - Charlton, David

PY - 2007

Y1 - 2007

N2 - This essay centres on several areas of interest in Berlioz's second Prix de Rome cantata, 'Herminie' (1828), where the first version of the 'idée fixe' from the later 'Symphonie fantastique' was used. 'Herminie' is a dramatic monologue deriving from Torquato Tasso's epic, 'Gerusalemme liberata' (c. 1575). Erminia, princess of Antioch, is protected by Tancred, to whom she is secretly attracted. In Canto 6, during a pause in Tancred's first duels with Argantes, Erminia undertakes a dangerous night-time excursion to try and help Tancred. The dramatic monologue that the Paris students were to set to music expresses Erminia's tortured emotions and eventual resolve to set out on horseback. An intensive enquiry into the role of the later-famous 'idée fixe' theme within the cantata (including the interpretations of David Cairns, Julian Rushton, Hugh Macdonald, Oliver Vogel and Rémy Stricker) concludes that it is a 'Tancrède theme'; and a final section extends the enquiry into the way that Berlioz (writing 'Herminie' in a way that uses this theme flexibly in different dramatic situations) was also digesting the experience of hearing Beethoven's Third and Fifth Symphonies for the first time in the spring of 1828. The cantata shows that Berlioz was discovering how a musical theme carrying fixed emotional associations vested in a love-object could be combined in a changing musical scenario. These ideas became carried into his own later symphony.

AB - This essay centres on several areas of interest in Berlioz's second Prix de Rome cantata, 'Herminie' (1828), where the first version of the 'idée fixe' from the later 'Symphonie fantastique' was used. 'Herminie' is a dramatic monologue deriving from Torquato Tasso's epic, 'Gerusalemme liberata' (c. 1575). Erminia, princess of Antioch, is protected by Tancred, to whom she is secretly attracted. In Canto 6, during a pause in Tancred's first duels with Argantes, Erminia undertakes a dangerous night-time excursion to try and help Tancred. The dramatic monologue that the Paris students were to set to music expresses Erminia's tortured emotions and eventual resolve to set out on horseback. An intensive enquiry into the role of the later-famous 'idée fixe' theme within the cantata (including the interpretations of David Cairns, Julian Rushton, Hugh Macdonald, Oliver Vogel and Rémy Stricker) concludes that it is a 'Tancrède theme'; and a final section extends the enquiry into the way that Berlioz (writing 'Herminie' in a way that uses this theme flexibly in different dramatic situations) was also digesting the experience of hearing Beethoven's Third and Fifth Symphonies for the first time in the spring of 1828. The cantata shows that Berlioz was discovering how a musical theme carrying fixed emotional associations vested in a love-object could be combined in a changing musical scenario. These ideas became carried into his own later symphony.

KW - Berlioz, Prix de Rome cantatas, Beethoven, Tasso, Gerusalemme liberata, analysis, idée fixe

M3 - Internet publication

JO - The Hector Berlioz Website

JF - The Hector Berlioz Website

PB - Michael Austin, Monir Tayeb

ER -