On the Way to 'Euphonia': Berlioz's Promotion of Earlier Music. / Charlton, David.

Von Gluck zu Berlioz.: Die französische Oper zwischen Antikenrezeption und Monumentalität.. ed. / Thomas Betzwieser; Sarah Mauksch. Würzburg : Konigshausen & Neumann, 2015. p. 139-58.

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Published

Standard

On the Way to 'Euphonia': Berlioz's Promotion of Earlier Music. / Charlton, David.

Von Gluck zu Berlioz.: Die französische Oper zwischen Antikenrezeption und Monumentalität.. ed. / Thomas Betzwieser; Sarah Mauksch. Würzburg : Konigshausen & Neumann, 2015. p. 139-58.

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Harvard

Charlton, D 2015, On the Way to 'Euphonia': Berlioz's Promotion of Earlier Music. in T Betzwieser & S Mauksch (eds), Von Gluck zu Berlioz.: Die französische Oper zwischen Antikenrezeption und Monumentalität.. Konigshausen & Neumann, Würzburg, pp. 139-58.

APA

Charlton, D. (2015). On the Way to 'Euphonia': Berlioz's Promotion of Earlier Music. In T. Betzwieser, & S. Mauksch (Eds.), Von Gluck zu Berlioz.: Die französische Oper zwischen Antikenrezeption und Monumentalität. (pp. 139-58). Konigshausen & Neumann.

Vancouver

Charlton D. On the Way to 'Euphonia': Berlioz's Promotion of Earlier Music. In Betzwieser T, Mauksch S, editors, Von Gluck zu Berlioz.: Die französische Oper zwischen Antikenrezeption und Monumentalität.. Würzburg: Konigshausen & Neumann. 2015. p. 139-58

Author

Charlton, David. / On the Way to 'Euphonia': Berlioz's Promotion of Earlier Music. Von Gluck zu Berlioz.: Die französische Oper zwischen Antikenrezeption und Monumentalität.. editor / Thomas Betzwieser ; Sarah Mauksch. Würzburg : Konigshausen & Neumann, 2015. pp. 139-58

BibTeX

@inproceedings{879a086c80834c63befe83e51442600e,
title = "On the Way to 'Euphonia': Berlioz's Promotion of Earlier Music",
abstract = "This is a lightly revised version of the 2011 text issued in French in 'Berlioz: textes et contextes', listed already on this site. Contesting the idea that Berlioz had little time for earlier music, the article correlates information up to 1844 from Berlioz's journal writings with his praxis as a concert organiser in Paris, a world where more and more music of earlier periods was becoming available in print and in performance. Berlioz's method was to become interested in a particular composer, then to research his music further, and then, if he saw its serious value, to perform a piece by that composer, often in juxtaposition with his own music. Having heard Choron's concerts as a young man, he never lost his interest in Handel and (in a different way) Palestrina. The 1844 festival concert in the Palais d'Industrie was staged by Berlioz at the same moment as the final instalment of 'Euphonia' was published. Both address the question of musical value, the claims of the musical past as against those of its present. ",
keywords = "Berlioz, Paris, concerts, historicity, 'Euphonia', Choron. ",
author = "David Charlton",
year = "2015",
language = "English",
isbn = "9783826056802",
pages = "139--58",
editor = "Thomas Betzwieser and Sarah Mauksch",
booktitle = "Von Gluck zu Berlioz.",
publisher = "Konigshausen & Neumann",

}

RIS

TY - GEN

T1 - On the Way to 'Euphonia': Berlioz's Promotion of Earlier Music

AU - Charlton, David

PY - 2015

Y1 - 2015

N2 - This is a lightly revised version of the 2011 text issued in French in 'Berlioz: textes et contextes', listed already on this site. Contesting the idea that Berlioz had little time for earlier music, the article correlates information up to 1844 from Berlioz's journal writings with his praxis as a concert organiser in Paris, a world where more and more music of earlier periods was becoming available in print and in performance. Berlioz's method was to become interested in a particular composer, then to research his music further, and then, if he saw its serious value, to perform a piece by that composer, often in juxtaposition with his own music. Having heard Choron's concerts as a young man, he never lost his interest in Handel and (in a different way) Palestrina. The 1844 festival concert in the Palais d'Industrie was staged by Berlioz at the same moment as the final instalment of 'Euphonia' was published. Both address the question of musical value, the claims of the musical past as against those of its present.

AB - This is a lightly revised version of the 2011 text issued in French in 'Berlioz: textes et contextes', listed already on this site. Contesting the idea that Berlioz had little time for earlier music, the article correlates information up to 1844 from Berlioz's journal writings with his praxis as a concert organiser in Paris, a world where more and more music of earlier periods was becoming available in print and in performance. Berlioz's method was to become interested in a particular composer, then to research his music further, and then, if he saw its serious value, to perform a piece by that composer, often in juxtaposition with his own music. Having heard Choron's concerts as a young man, he never lost his interest in Handel and (in a different way) Palestrina. The 1844 festival concert in the Palais d'Industrie was staged by Berlioz at the same moment as the final instalment of 'Euphonia' was published. Both address the question of musical value, the claims of the musical past as against those of its present.

KW - Berlioz, Paris, concerts, historicity, 'Euphonia', Choron.

M3 - Conference contribution

SN - 9783826056802

SP - 139

EP - 158

BT - Von Gluck zu Berlioz.

A2 - Betzwieser, Thomas

A2 - Mauksch, Sarah

PB - Konigshausen & Neumann

CY - Würzburg

ER -