This Content Downloaded From 82.49.19.160 On Tue, 08 Dec 2020 10:15:19 UTC

Volcanic Eruptions: Berlioz and His "Grande Messe des morts"
Author(s): Donna M. Di Grazia

Source: The Choral Journal , NOVEMBER 2002, Vol. 43, No. 4 (NOVEMBER 2002), pp. 27-
55
Published by: American Choral Directors Association
Stable URL: https://www.jstor.org/stable/23554301
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
American Choral Directors Association is collaborating with JSTOR to digitize, preserve and
extend access to The Choral Journal
This content downloaded from

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
All use subject to https://about.jstor.org/terms
NOVEMBER2002 CHORAL JOURNAL
Volcanic
Volcanic
Volcanic
Eruptions: Eruptions:
Eruptions:
Beriioz
Berliozand His
Berlioz and
and
His
((/
His
Grande
Grande
Grande Messe des morts Mme
Messe des mom
des worts
byby
Donna M. Donna
by Di Grazia
Donna M. M,
Di Grazia
Di Grazia
Berlioz
Berlioz c. 1831-2: copy (by Bouche
c. 1831-2: copy (by Boucher-Desnoyers)
of of
a pen-and-inka
drawing
pen-and-ink
by Horace Verner drawing by Horace
Si j'étais menacé de voir brûler mon oeu

une partition, c'est pour la Messe des mor
grâce. selected list of essential Berlioz bibliography.) From these and
[If I were threatened with seeing my entire output burned, from Berlioz's own writings we know a gre
less one score, it would be for the Messe des morts that I young man from southeastern France, and it
would beg for mercy.1] facts contained in these works that the following biographical
sketch relies.
Such was Berlioz's sentiment, expressed just two years before
his death, with the full extent of his compositional oeuvre The Young Man from Isère
already realized, regarding his Requiem, his Grande Messe des Born Louis-Hector in 1803, Berlioz spent his first seventeen
morts. Composed some thirty-two years earlier, the Requiem is years in the rural village of La Côte-Saint-André, a small town
an imposing work, a masterpiece of imagination and dramatic in the French département of Isère. He was the first born of six
creativity. To understand it, we should first place it in the children, including two sisters, Nancy and Adèle, both of
context of the composer's life and musical style. whom remained close to him until their deaths in 1850 and
The details of Berlioz's biography have been well-docu- 1860 respectively. Berlioz's father, a beloved town doctor, taught
mented in English, beginning in 1950 with Jacques Barzun's his son music, literature—his life-long love of the classics sprang
insightful two-volume work, Berlioz and the Romantic Century. fr0m this period—Latin, philosophy, geography, and anatomy,
In the last two decades, however, no fewer than four important, among other subjects. Hector learned to play the flageolet (and
new biographies have been published in English by some of the later, the flute quite competently) and guitar in his early years,
world's most eminent Berlioz scholars: Hugh Macdonald played percussion in La Côte's modest National Guard band,
and was a decent singer. By age fifteen, he had composed a
number of small pieces and even had one published. None of
Donna M. Di Grazia is associate professor of music at Pomona
these first efforts, however, were substantial enough to suggest a
College in Claremont, California, where she teaches courses in . ' . . b
... . .... . . . „ ^ n career in music, let alone one that would see him become one
music history in addition to conducting the Pomona College , . i n • i
„. . , « 0, ... . , or his century s most innovative and influential composers.
Choir and Glee Club, bhe received her B.A. and M.A. degrees \ r , . . .
r . y T * • r s~> it • T-v • / i i . i Despite his rather s musical encouragement in these early
from the University or California, Davis (where she studied . ° ...
. . . . ... ,. .y .«, ,. r,, ^ . • , years, it was no secret that Dr. Berlioz expected his son to
conducting with Albert McNeil), and her Ph.D. in musicology J . . \ . .
r w, , . « i • or- follow in his footsteps and become a physician. Nevertheless,
from Washington University, ot. Louis. , J1 . ... r ,
. . the young Berhozs fascination with music was strong from the
<dmd04747@pomona.edu> , ; . D . . . , . , , . . , . ?. r , ,
beginning, and it was clear to him that
were on a collision course:
VOLUME FORTY-THREE 27 NUMBER FOUR

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
CHORAL JOURNAL NOVEMBER2002
For a long while [my father] mad

no secret of his intention. I on my b
side had made no secret of what I w
thought of [medicine], and my vig- p
orous expressions of dissent on one f
or two occasions had not pleased the
him I thought I knew for sure lo
that no power on earth was going
to make me a doctor One day dre
I came across a piece of paper with d
twenty-four staves ruled on it. The o
moment 1 saw that great array o
lines I became aware of the multi- s
tude of instrumental and vocal com-
binations that lay open to an It w
ingenious hand, and I exclaim
'What an orchestra one could write Berlioz was almost eighteen when he
down on that!' From that moment That Berlioz eventually agreed to be- arrived in Paris in Octobe
my head was in a state of ever-in- gin medical school in the fall of 1821 was studying medicine. No
creasing musical ferment, and my a fate with a silver lining. On the one allure of the theatre e
aversion to medicine grew accord- even a month into his residency there.
ingly. But I was too much in awe From all accounts he was profoundly
Berlioz
of my parents to dare breathe a BcvllOZ was
VU CIS almost
CllfTlOSt moved by what he saw: operas by S
word of these subversive thoughts.2 Mehul, and by the end of November, his
eighteen
eighteen when when
he beloved
heGluck's Iphigénie en Tauride, all
Indeed, it was the idea of composition, of given at the Opéra. It is important to
arrived
being an artist not a doctor, that drove CLVVÍV6(Íin Paris
Ífl PcLVIS in
lYl remember here that, as David Cairns re
the young Frenchman's passions. For the minds us, Berlioz s exposure to live musi
time being, though, his parents' wishes OctobcY 1821
October tO bcÇlflto
1821 ca' Perôrmancc
begin t0 r'm point had been
prevailed: extremely parochial: it was essentially lim
studyin?
studying medicine.
medicine. ited to a bit of chamber
Become a doctor! Study anatomy! J 0 mediocre performances of popular march
Dissect! Take part in horrible op- and romance arrangements played by the
local National Guard band, made up of
"a dozen and a half wind instruments
AA
companion
companion
to Jordan's best-selling
tobookJordan's
The Musician's Soul! best-selling book
played out of tune"1 The difference be
Th
tween the band and the Opéras seventy
piece professional orchestra must have
been extraordinary.
musician's 'WPPJBBj
Shortly after these powerful experiences
at the Opéra, Berlioz learned that the
library of the Paris Conservatoire, with its
Spirit
spiritby James Jordan
by -,IC musician's «B
James Jordan W
stacks of full scores, was open to the pub
The Musician'sMusician's
Spirit utilizes thought
p feHHHH lic. Now he could devour scores of the
masters he'd read about in his youth.
The Spirit utilizes
thought
provoking
provokingquotations, real life stories, "Once
quotations, real life stories, admitted to the sanctuary," he said,
"I never left it. It was the death-blow to
and
andvisual art visual
to challenge all artists
art to to challenge all artists to
share
share
themselves with
themselves
their audience my medical career. The dissecting-room
with their audience
was abandoned for good."6 Indeed, the
and
andfellow artists,
fellowthereby creating
artists,
a thereby creating a
temptations of such distractions were al
more personal and beautiful body ot
of %
,,
together too great, and what was to be a
work.
four-year medicine course followed by a
G-5866
G-5866 Hardcover
Hardcover$29.95
$29.95larai-s furdait promising career ended abruptly.
Berlioz's parents were none too pleased
Orderyour
Order your copycopy today! "*"* • .--M
today! k N§|. * to hear of their son's change of heart, of
GLA Publications, Inc. J
CIA Publications, Inc. i course, and what ensued was a typical
1.800.GIA.1558
1.800.GIA. www.giamusic.com
1358 www.giamusic.com struggle of parental reason and practical

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
NOVEMBER 2002 CHORAL JOURNAL
logic versus a child's passion for things an

that were fundamentally incomprehen- Lesu
sibleand that seemed risky and disrepu- t
table—a passing phase, they thought (they id
hoped). In the end they came to accept th
their sons vocation but not without much
gnashing of teeth in the process. The sp
struggle of wills lasted two more years, ju
neither side relenting: "Everything was the
tried—entreaties, threats, loss of allow- link
ance, caresses, promises for the future, in
curses even."7 The drama of it all seems
to have come to a head in May and June
of 1823, with the following tête-à-tête
between mother and son:
'Your father,' she said, addressing

me by the formal you, 'has been so
weak as to consent to your return
ing to Paris. He encourages you in
your wicked, foolish ideas. I shall
not have this sin to lay to my
charge. I absolutely forbid you to
g°-'
'Mother!'
ildrfen s
'Yes, I forbid you and, Hector, I
implore you not to persist in this
acific Rim Countries
madness. Look, I kneel—I, your
mother, I clasp your knees and
humbly beg you to renounce it.' Henry H. Leek
Festival Artistic Director
'For God's sake, Mother, let me
raise you to your feet, I can't bear Founder and Artistic Director of the Indianapolis Children's
it.' Choir; Director of Choral Activities at Butler University;
Internationally known specialist and clinician in choral
'No, I will kneel.' Then, after a techniques, the child's voice and the boy's changing voice.
moment's silence: 'Wretched boy,
you refuse? You can stand there un
July
(y • July 1515- -23,
23, 2003
20CJ3
moved while your mother kneels
before you? Very well, go! Drag HAWAI'
HAWAI I' I•• July
July
July 66-14,
- 14, 2004
2004
July 19 - 27, 2005
yourself through the gutters of
Paris, besmirch our name, kill your This 9-day residential
residential program
program is
is designed
designed for
for
father and me with shame and sor Advanced Treble
Treble Choirs.
Choirs. Limited
Limited space
space is
is also
also
row. I shall not set foot in this house available for Independent
Independent Directors.
Directors.
again until you have left it. You are
HOST CHOIR
my son no longer. I curse you!'8
Hawai'i Youth Opera Chorus
Nola A. Nahulu,
Nâhulu, Artistic Director
A Period of Formation
Berlioz's formal music study began in Pacific Rim
MUSIC RESOURCES
1823 under the tutelage of François
Wanda Gereben, Executive Director
Lesueur (although he did not actually en Tel: (808) 595-0233 • Fax: (808) 595-5129
roll at the Conservatoire until 1826). By Email: info@PacRimFestival.org
info@PacRimFestival.org
all accounts Lesueur was a gifted teacher, www.PacRimFestivaI.org
www. PacRimFesti val. org
if rather conservative in his own craft,

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
CHORAL JOURNAL NOVEMBER 2002
surviving work. Two years late

accepted at the Conservatoire, w
continued Berlioz's constant
studying runtra. The sheer
composition with D
inve
Lesueur and counterpoint with A
Reicha. Thisins with
was Cherubini,
a glorious as time of IY
growth, of an imagination spillin
with recounted often
unconventional in the
ideas, and probably Y
not a small amount of unbridled ent
asm and Memoires brashness.
youthful with terrific It is here lvl
that we get a first glimpse of Be
testy flair, revealwith
relationship the jealousy
Luigi Cherubini,
who, at the time, was the most dom
musician in and distrust
Paris; that existed
he was also the director U
of the Conservatoire. Berlioz's c
run-ins withbetween them
Cherubini, as recounted of-
ten in the Mémoires with terrif
reveal the throughout their and distrust that ex
jealousy
isted between them throughout their as- . . the Société des Concerts du
association.
sociation.11 USSOClUtlOYl. Conservatoire, an ensemble founded in
By the next year, 1827, Berlioz was 1828 under the initial directorship o
ready to compete for the prestigious Prix François Habeneck with the express
de Rome, a composition competition that purpose of introducing Beethoven's sy
awarded the winner several years' study in for the prize were given a pre-selected phonies to the Parisian public. The Eroic
Rome and Germany, plus a significant classical text, then each was locked in a played at the orchestra's first conce
cash stipend for five years.12 Contestants cell at the Institut de Paris for three weeks stunned Berlioz, and subsequent per
mances of all nine symphonies opened
his eyes to the power of instrumental mu
acfea
sic and the dramatic possibilities of the
symphony as a genre, both of which had
Perform
PerfoYm for the for the
been missing from Lesueur's lessons.
Tour Consultants
The 1830s saw Berlioz complete his Performing Arts Tours Since 1955
transformation from young composer to
world
worldwith with
mature artist. The decade began with the
completion and premiere of his five-move
ment program symphony, Symphonie
ACFEA
fantastique, a work of staggering original
ity, especially coming as it does so early in
his career. After winning the Prix de
Rome, his next major works followed
rather quickly: several overtures (Le Roi
Lear and Rob-Roy, both completed in
1831); his second symphony, Harold en
Italie (1834); his opera Benvenuto Cellini
(begun in 1836; completed in 1838);
Roméo et Juliette (1839); various songs
and smaller choral works (some with pi
ano accompaniment, others with orches
tra); and, in the middle of it all, his Grande
1-800-886-2055
1-800-886-2055 Messe des morts (1837). The next decade,
too, was chock full of still more inventive
creations: the overtures Le Carnaval
ACFEA Tour Consultants FAX : (415) 453-6725
1567 Fourth Street EMAIL: info@acfea.com
¡nfo@acfea.com romain, 1843 and Le Corsaire, 1844; an
Rafael, CA
San Rafael, CA 94901
94901WEB
WEBSn-E:
SITE:www.acfea.com
www.acfea.com incomplete opera (La Nonne sanglante,
1841-7); another symphony (Grande
Symphonie funèbre et triomphale, 1840);
Thirteen
Thirteen offices
offices worldwide
worldwide the song cycle Les Nuits d'été (1841); La
CST 2063085-40
Damnation de Faust (1845-6); and the Te

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
NOVEMBER2Q02 CHORAL JOURNAL
Deum (1849), as well as a handful o

smaller instrumental and vocal wor
During this time, he also emerged as
conductor of considerable talent; h
started conducting his own concerts
larly in 1838 and by the early 1840
gan travelling widely to various Euro
cities—Brussels, Weimar, Leipzig,
Dresden, Hamburg, Berlin, Frankf
Hanover, Baden, London, St. Peter
Riga, Moscow, Vienna, Prague, Pest
Marseille, Lyon, and elsewhere—mo
to conduct his own music. Yet despit
warm reception he received outsid
he struggled at home to provide fo
family: his wife, the Irish
actress Harriet Smithson, and t
child, Louis. Opera, not symphoni
sic, was still the most highly regarde
Table
Table
Table
1: Selected Compositions
1: Selected
1: and Berlioz's
Selected Genre Designations
Compositions Comp
a
Composition
CompositionTitle Title Elements
Elements that that
do no
(w/completion
(w/completionGenre
Genre
date)Designation to traditional
Designation
date) togenre expectations
traditional genr
Episode
Episode de la
deviela symphonie
symphonie
d'un
vie fantastique
artiste
d'un 5 artiste
titled5
(1830) movements
titled
fantastique program
movement
(1830)
Le
Le Retour
Retour a la
à la vie (1831; renamed viemélologue
(1831;
melologue 6 titled movements,
renamed each each
6 titled movements, preceded
preceded
LéLelio, 1855;
lio, 1855; counterpart to counterpart to by
bya a
spoken
spoken
monologue
monologue
Symphonie
Symphoniefantastique.) fantastique.) performance
performance forcesforces
include 1include 1
speaker,
speaker, 3 soloists,
3 soloists,
chorus, chorus,
orchestra
orchestra (including
(including
piano) piano)
Harold
Harold en en
Italie (1834)( 1834)
Italie symphony
symphony 4 titled movements
4 titled movements
concerto element;
element: viola solo
Roméo et Juliette (1839)

Romeo symphonie
symphonie dramatique
dramatique 7 titled7 movements (dramatic
titled movements (dramatic
tableaux)
libretto
performing forces include 3
choruses, 3 soloists (none of
whom represent the title
characters)
Grande Symphonie funebre

funèbre et symphony(originally
symphony (originally
"symphonie) 3 titled
"symphonie) 3 titled movements
movements
triomphale (1840) militaire") concerto element:
militaire") concerto trombone
element: trombone solo
solo
performing
performing forces include
forces include
military
military band (w/optional
band (w/optional
string
stringparts);
parts);
last movement
last movement
includes
includeschoruschorus

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
vision and his approach to composition that Berlioz's only spiritual model was
in general. His Prix de Rome troubles, for _ Beethoven. Indeed, the music of his tea
One he
example, were caused mainly because of One
the first
ofthethings
flTSt thin?S ers Lesueur and Reicha, and the sound of
could not (or would not) let conventions French revolutionary bands—the stuff of
that comes
of formal design, harmonic language, to mind
text thcLt COTtieS tO Tflitld Gossec, Méhul, and Catel—can all be
setting, and orchestration control his heard in Berlioz's music too. Nonetheless,
imagination or dictate the when thinking of
satisfactory ex- when thinking of the dramatic energy
ploration of ideas. This independent Beethoven's music was the single most
streak never left him, and it did Berlioz's
not alto- music is WIUSÍC
BetUoZS how ÍS hoVU emancipating force for the young Fr
gether meet with favor from contempo- _ _ man. That Berlioz remained an isolat
raries or the Parisian public.extreme
extremeit it
is—louder,
IS loitdeV, figure in France was not because he lac
Berlioz's approach to genre is unique, _ _ sufficient training or skill, but simply
longer,
longer, requiring
requiringmore
more cause no other composer there painted a
musical canvas as vividly or broadly as he.
perjbrmerS. One Of the first things that comes to
performers.
düDStan
dutystar? bouss mindfiiuHirni,
when how
' ' * ti,* Miiiir ofi»»*i F bouse
* Tha
thinking
Mucir
of Berlioz's music is
extreme it is—louder, longer, requir
n( Din
Ihe Milk if Muiic
Tlit Daniel E. Gawttop
of Daniel E. fiawttirop
ing more performers. Although there is a

to be sure. However, it stems from the certain amount of truth in this view, it
creative genius of Beethoven, especially only tells half the story. More detailed
Too many
[Too many
the programmatic elements (those explicit examinations of his music reveal a com
and implicit) in the Third, Fifth, Sixth, poser interested in the juxtaposition of
short
slyort works? works?
and Ninth symphonies, each of which he extremes: not just louder, but softer; not
heard performed by the Société des Con- just longer, but shorter too; not simply
certs du Conservatoire prior to writing using massive forces, but having many
Looking
Looking for sometfring for something
longer than an longer than an
the Requiem in 1837.13 This is not to say options at his disposal to maximize the
octavo
octavoout not quiteout
a major work!
not quite a major work!
power of sound, something most effec
tively accomplished when opposites are
Try
Try tl?ese
tf?ese pieces by pieces
'Madrigal
cMadrigal by immediately juxtaposed.
cDinner
cDinner A closer look at his music also reveals a
Dapiel
DapielE. Gawtyrop
E. Gau/ttyrop
composer whose attention to detail was by
unprecedented. His scores are littered with
Scripts Paul Brandvik
author of
directions about standing, performer
The Compleet Madrigal Dinner Booke
Scripts include: placement, assistant conductors, how to
Three Rossetti Lyrics ALL DIALOGUE: play certain percussion instruments (and
Greetings, Toasts, Festivities, what kind of sticks to use), and so on.14
Concert, Farewell
Night, Sleep, Death and the to Obviously this was a musician intimately
Plus:
HUMOROUS RENAISSANCE aware of and involved with the practical
Three Celtic Invocations MASQUE considerations of performance, and he
Plus: took pains to articulate his ideas not just
REPERTOIRE SUGGESTIONS
Ceremonial music and concert
in his scores, but also in his important
All available for inspection (complete scores) orchestration treatise, and in repeated ac
and audition (complete recordings) at: TWENTY-FIVE different scripts available, counts of concerts in letters and other
including scripts appropriate for
writings. This attention to detail also goes
churches and younger performers.
www. dupstaptyouse
duijstaptyouse .eom New this year:
SORRY TELLERS
Call or write for your FREE descriptive

brochure. Join the thousands who have Choir handbooks.
handbooks.
made these Madrigal Dinner Scripts a
tradition. Rosters.
Rosters. Attendance
Attendance
knight-shtick records.
dupstap bouse press (Wouldn't you rather be making music?)
The Music of Daniel £. Gawthrop
Box 814 Dept. A

Bemidji, MN 56619-0814
no, Stephens
PO Box 220, Stephens City,
City, VA
VA 22655
22655 Telephone 218-586-2270
madrigaldinner@madrigaldinner.com
Phone: 540.723.0810 www.madrigaldinner.com
Music Ministry Organization Kit
www.lighthousemusicworks.com
Fax: 540.723.4820
A Division of FXTRFMFI Y. I TD _

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
well beyond practical concerns; it extends I found it hard to get on top of my

to critical elements of musical structure _ subject; to begin with, I was so
Rarely
and orchestration. Rarely is there is
an exact R/ZY6Ly IS there
trJCYC an intoxicated
CLTl CXCLCt wildly exact by
repetition of even a phrase in any Berlioz the Prose des morts [the Dies irae]
score large or small. The subtle repetition of
but sig- Y6p6tltÍ0Yl OJ CVCYl even
CL that a form no c
my brain could
nificant changes in figuration and orches- # ideas, my head was boiling and I was
phrase
tration for each strophe of Les Nuits in
d'été s pNYCLSC lYl CLYIJ any
BcYLIOZ giddy. TodayBerlioz
the eruption is under
"Villanelle," for example, are masterfully control, the lava has formed its bed
score
done; but equally well crafted are large
the three SC0Y6 or small.
léZYgC OY SYYIÛ-U. and, with God's help, all wi
progressively turbulent sections of the well.17
Requiems Dies irae that lead directly into
the cacophonous Tuba mirum. Similarly, Later, in the Mémoires, he recounts the
while the listener is forced to engage with t'le ^m;1' judgment; the weeping and pro- scene this way:
the Tuba mirum's all-enveloping brass found sorrow for sins of commission and
sound—it is impossible to ignore—the omission, the contrasts between the for- The moment I was armed with my
process by which he arrives at that mo- giyen and the damned, and the unre- commission, I set to work. The text
ment is much more subtle than it seems; solved questions that such ideas posed. 0f the Requiem was a quarry that I
it is carefully paced in a way that reveals a Such vibrant prose aroused the interest of had long coveted. Now at last it was
conscious molding of every small detail many post-eighteenth-century composers mine, and I fell upon it with a kind
to gain the desired, ultimate effect. from Cherubini and Brahms to Britten, fury ^y brain felt as though it
Dramatic flair is not the exclusive do- hut none more dramatically than it did would explode with the pressure of
main of Berlioz's large-scale works, how- Berlioz. ideas. The outline of one piece was
ever. Indeed, his smaller works, music "hhe Grande Messe des morts was com- barely sketched before the next
often neglected (or simply unknown) be- missioned by de Gasparin, the French formed itself in my mind. It was
cause the larger works seem so overwhelm- interior minister, in March 1837 to com- impossible to write fast enough, and
ing , so "extreme" in a purely fundamental memórate both the seventh anniversary j devised a sort of musical shorthand
sense, are no less driven by intense ten- t'le ' $30 July Revolution and, more which was a great help to me, espe
sion and energy. The deeply moving Prix specifically, the assassination of eighteen daily in the Lacrymosa.18
de Rome cantata La Mort de Cléopâtre members of the king s retinue at a similar
(1829), the exotic La Captive for soprano celebration in late July 1835. Berlioz was doubt he was equally thrilled to hav
and orchestra (c. 1834; rev. 1848), the ecstatic to finally have an opportunity to high-profile event for his new comp
dramatic Les Nuits d'été (1841; orches- set this text (something he was quick
tion; to
surely it would be an occasion that
trated 1843; rev. 1855-6), and even tell friends and family), and it seemsmostthe
of the capital's important dignitaries
L'Enfance du Christ (1854), for example, ôw °f ideas began immediately: from the world of music and politics wer
are no less provocative or impressive than
the Requiem or Te Deum because of their
smaller scope.15 To understand Berlioz's Like a well-balanced choir, Witte
approach, then, one has to understand Travel's team of travel professionals
how all these elements come together. As and concert organizers work in
we will see, the essence of Berlioz's style, harmony to take care of every detail of
and the power it possesses, lies not merely Harmonize y°ur group's touring and performance
needs.
in the massive displays of sound, but also
in the more intimate layers within.
throughout your
A Fortuitous Commission— Concert Tour •
Politics—A Vision Realized
The tale of the Requiem's commission without skipping WITTE TRAVEL & TOURS
ing reveals a persistent young man who a beat! Custom-designed concert tours for
knew all too well that being in the right travel in Europe and North America
place at the right time could be both a
Call 800-469-4883
blessing and a curse. Surviving letters, his
memoirs, and other documents tell us E-mail: janel@wittetravel.com
that Berlioz, like many composers, was www.wittetravel.com
intrigued by the vivid content of the Latin 3250 28th Street SE
Requiem text: the cries of mercy; the day Grand Rapids, MI 49512
of wrath and trumpet calls announcing

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
likely to attend. That the g

only promised to absorb all the costs as- is therefore of the utmost impor
The
sociated with the performance—copying Grande
Grande Messe
MeSSe deS tance to indicate des
the four beats of
parts, paying the musicians, venue costs, _ _ the slower tempo very clearly the
as so on—but also guaranteed him amorts is
yyiOYtS ÍS a WiaSSWe Work a massive
moment it is reached; otherwisewor
the
4000-francs stipend for the work was a great cataclysm, a musical represen
welcomed bonus.1' the sonic
the expanse of tation ofexpanse
sonic the Last Judgment,
ofpre
The March commission called for a _ r J pared for with such deliberation and
which
completed score in time for a July exceeded
1837 Ujhich exceeded all
all employing an exceptional combina
ceremony, leaving Berlioz just four tion of forces ¡n a manner at the
months to compose what would become COntempOVarV dme unpreceden
contemporary
slightly more than eighty minutes of mu- tempted since—a passage which
sic. One may be tempted to use this short expectations. will, I hope, endure as a landmark
expectations.
schedule to explain the numerous self- : ¡n mus¡c—¡s mere noise and pan
borrowings that appear in the work. On demonium, a monstrosity.
the contrary, the music that reappears here
is from the previously rejected Messe stroke, that opportunity vanished. Al- With my habitual mistrust 1 had
solennelle of 1824, music he thought he though the interior ministry should have stayed just behind Habeneck.
had discarded (so the idea of resuscitating been bound to uphold its contract and Standing with my back to him, I
the best parts of it seemed logical).20 The pay both the commission fee and the pro- supervised the group of timpani
score was indeed finished by the end of duction debts incurred to that point—in (which he could not see), as the
June, leaving one month to copy parts, excess of 8000 francs—the promised pay- moment approached for them to
engage players and singers he was plan- rnents were withheld. join in the general tumult. There
ning for 400-450 performers"1 arrange q"be situation seemed bleak indeed. are perhaps a thousand bars in my
for rehearsal space, and attend to the prac- Then, in October 1837, word came of a Requiem. In the very bar I have
tical logistics of the performance venue: significant military defeat in Algeria, one been speaking of, the bar in which
St-Louis des Invalides. tbat would require an official state fu- the tempo broadens and the brass
As would prove the case for Berlioz on neral, this time to be paid for by the war proclai m their tremendous fan
other occasions in Paris, though, the road ministry. Intrigues involving an outraged fare—the one bar, in fact, in which
to the Requiem's premiere would present Cherubini (handled by his admirers rather the conductor's direction is abso
serious bumps. Indeed, even the initial than by the master himself) again en- lutely indispensable—Habeneck
commission from de Gasparin was of- sued—the indignity of being passed over laid down his baton and, calmly
fered amidst a certain intrigue involving a second time was too much for him to producing his snuffbox, proceeded
Cherubini, who had already completed a accept silently.24 In the end, though, noth- to take a pinch of snuff. I had been
Requiem of his own in 1836 with every ¡ng changed, and the Grande Messe des keeping my eye on him. In a flash I
expectation that it (and not Berlioz s) morts finally received its first performance turned on my heel, sprang forward
would be chosen for the July 1837 cer- on 5 December 1837. in front of him and, stretching out
emony. (A letter from Berlioz to By nearly all accounts, the premiere my arm, marked out the four great
Cherubini squelched behind-the-scenes was an unmitigated success despite an beats of the new tempo. The bands
machinations that had been threatening incident involving the performance con- followed me and everything went
to snatch the commission from Berliozs ductor, François Habeneck.25 This epi- off in order. I conducted the [move
grasp before it was even officially of- sode, known in the literature simply as ment] to the end. The effect I had
fered. ) Then, less than two weeks before the "pinch of snuff," is too vivid not to dreamed of was attained. When, at
the scheduled July commemoration, with recount it here: the final words of the chorus,
nearly everything in place, the govern- Habeneck saw that the Tuba
ment changed its mind about the entire My forces had been divided into Mirum was s
event, and under political pressure both several groups spread over a wide was in a col
from within the government and from area; necessarily so because of the we would ha
more distant locales, decided to hold the four brass bands which j use in the
ceremony without any music at all.2 Tuba Mirum ... At the point Berlioz's letters r
The disappointment Berlioz felt when where they enter ... the music positive responses t
the premiere was cancelled must have been broadens to a tempo twice as slow. effusively so)
tremendous. He had been on the verge of First, all four groups break in simul- the press. A m
having his work performed for a huge taneously—at the new tempo— nervous attack"
national celebration, with all the political tben successively, challenging and he tells us; an of
benefits such an event promised for an answering one another from a dis- tears at the alta
ambitious young composer. Yet in a single tance, the entries piling up, each a in the sacristy

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
afterward."27 Clearly he had the success of ins

he had hoped for. overt grandness; at t
} scures the equally powerful, inte
The Grande Messe des morts S timate way
Dramatic Canvas belief in the ultim
The Grande Messe des morts is a mas- The fo
sive work the sonic expanse of which ex- as s
ceeded all contemporary expectations, t
Indeed, as Table 2 shows, its immense the wor
scoring is imposing. Such an extensive list sing
Table
Table
Table2: Berlioz 2:
Requiem
2: Scoring
Berlioz
Berlioz
Requiem
Requiem
Scoring
SINGERS
soloist: tenor (Sanctus only)
chorus:
chorus: 80
80sopranos
sopranos (divisi)
(divisi)
60
60tenors
tenors (divisi)
(divisi)
70basses
70 basses (divisi)
(divisi)
total chorus 210 singers
PLAYERS
main orchestra:
main orchestra: 4 flutes
2 oboes
2 English horns
4 clarinets
8 bassoons
French horns
12 French horns
108 strings (25 ++ 25
25 ++ 20
20 ++ 20
20 ++ 18)
18)
8 pairs of timpani
timpani (10
(10 players)
players)
10 pairs of cymbals
cymbals
2 bass drums
4 tam-tams
brass choirs: I: 4 cornets àa pistons

4 trombones
tubas
2 tubas
II: 4 trumpets
4 trombones
trombones
III: 44 trumpets
trumpets
4 trombones
trombones
IV: 4 trumpets
trumpets
4 trombones
trombones
4 ophicleides
ophicleides (Brass
(Brass instruments
instrumentscommonly
commonlyfound
foundininFrench
Frenchrevolutionary
revolutionary
music.
music.
Modern
Modern performances
performances use
usetubas.)
tubas.)
total
total orchestra
orchestra 204 players
[Berlioz's note in the

score regarding the chorus's size: "The numbers indicated are only relative, and one may, if the space will
permit it, double or triple the size of the chorus and augment the instrumental forces a little by the same proportions."]

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
very first measures. There is a

prehensiveness about these opening psychological effect he intends those ideas
The
bars—a longing too. Second violins combination
and of
The COmbiflCLtiOYl of to have
violas, the former beginning on the grainy The precision with which Berlioz no
thematic
open G string (their lowest note), present fragments
theîYlCLtlC that
fv¿l<7TVl 6 fit S thû-t tates these opening melodic fragments is
three ascending phrases, each beginning equally important to note. By carefully
with a quarter rest, each separated by seem to stop
care- SeeïYl in mid
tO StOp air, CLlV, indicating the precise duration of silence
IYI TYll/t
fully prescribed silence, each colored by between phrases, he makes his listeners
varying orchestral timbres at the point OYllv
only totObeheswallowed
S WCl LÍO Wed
by by aware not just of the pitches and rhythms
where it finally reaches its apex (see Fig- and timbres he is using, but also of the
ure l).29 Although the first two phrases the VUStfieSS
the vastness of SpCLCe, space in which those elements come to
of space,
are identical in length, the second life. By using silence in this calculated
fragment's rhythmically premature rise heiphteflS
heightens the teYlSlOYl. way, he maps out the space literally,
the tension. a
from the D to & causes the line to end a listener is forced to follow the sound as it
half step higher than it had in the preced- reverberates into the building's d
ing phrase, thus giving the illusion that ners.30 The combination of the
this phrase is longer than the first. It is ultimate melodic destination here, and the ments that seem to stop in
not until the third phrase, however, that lingering pauses of unequal duration on to be swallowed by the vastne
Berlioz actually extends the melody's F^ and Ft are merely extensions that in- heightens the tension. In t
length and adds harmonic support for crease the tension in anticipation of that smallness of the individua
the first time. Here, instead of simply goal—G'—sounded here in bare octaves of the universe, sentiments
allowing the line to ascend predictably by winds and strings together. Such ex- Requiem text as a whole
one more half step to E1*, the line passes tended melodic writing is characteristic of missed.
through without hesitation, resting Berlioz's approach to melody both in the This purposeful interest
instead on Fl However, this turns out Requiem and in other works; it is a critical moves through space is a
not to be the arrival point either. G is the part of his concept of development not the concept of architectural
Resources for music ministry

Nurturing the spiritual growth of children and youth through music
\e/œù
lotees/
Ïflïif
JLJLJL
choristers >
*0U^> H e to
guild N
humos (\ J
Anthems for every choir and much more!

P<yirh0': '(ucee
m
Visit our website to request a
'¿¿zee/ 2002-2003 catalog of resources for music ministry.
mce&
www.choristersguild.org

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
Andante
Andante un poco
un lento
poco (J lento
= 69) (J = 69)
zk
V |17
a2
a2 -=«f P
English Horn
*f~ P —— xj
a2
(in C)
Horn
(in Eb)
Soprano
Andante un poco lento (J = 69) Silence

IV 1 0 - _ _ _ _ "
========
Violin
2
lb1'H i , = J 1 : 1 I ^
J
k
K V
J*
V *
"i tI t
* ï
i
i 1 1 =
J
H'
^ j jJ j JJJ tti .
i ¿ J -J «)^
-C
-C if
f
P poco cresc. #•==—?
of P poco cresc.
j
p
P
Jrt
poco cresc.
-
- meno
meno p poco cresc.
Jrt p
)' 3 = =
~ -
Silence
S
/ A 1
(inC) _
Hn. "f cresc. moho poco f =— p poco f
a2
l ^ » » =
L
(in Eb) ^
-P Y'— 'T > fl T * r Q~
Vln.
Vic.
Db.
Figure
Figure 1. Berlioz,
1. Berlioz,
Grande MesseGrande
de morts, Introit,
Messe mm.de
1-21.morts, Introit, mm. 1-21.
Reprinted
Reprinted with permission,
with permission,
Bârenreiter-Verlag Bârenreiter-Verlag

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
Berlioz used specifically to describe his se

Grande Symphonie funèbre et triomphale, in
the Te Deum, L'Impériale, and "above all," ter
he says, the Requiem, in which the har- of s
monic motion of a piece moves slowly to m
compensate for, and take full advantage p
of, a building's natural reverberation.31 In t
this passage from the Introit, space and B
melodic extension create a sense of mys- p
tery, of searching for a truth as yet unex- i
plained. However, there is something else ex
going on here too. Despite the
movement's prevailing triple meter, the O
first note we hear is played not on beat 1
or even on 3 (as an upbeat to the second Kyr
bar), but rather on 2. This foils the no
tated triple meter surreptitiously, befor
one even has a chance to notice. The
uncertainty created by starting on 2, nate
though, is unmistakable. From a inter- majo
pretive point of view, this is an importa
detail to consider. If Berlioz had notated li
this passage in 2, or simply started the the t
melody on the downbeat rather than with p
a rest, the entire aesthetic would have The
changed to something altogether ordinary
without the critical intensity and un- voic
Ky - ri - e e-le-i - son, Ky - ri - e e - le - i - son,

a tempo
rf A P'zz
Vln.
I ?
P
pizz.
$ P
¥
pizz.
Via.
p
pizz, non-div.
Vic
Vic.
P
pizz.
Db.
Figure
Figure2. Berlioz, Grande
2. Berlioz,
Messe de morts, Introit,
Grandemm. 171-173. Messe de morts, Introit,
VOLUME FORTY-THREE 3g NUMBER FOUR

82.4ff:ffff:ffff:ffff:ffff on Thu, 01 Jan 1976 12:34:56 UTC
Moderato
Moderato
(J = 96) (J = 96)
I
[Hess
~ ■ -
Violin
Viola
Violoncello
Double Bass J f -f=k
Figure
Figure 3.
3. Berlioz,
Berlioz, Grande
GrandeMesse
Messededemorts.
morts.Dies
Diesirae,
irae,mm.
mm.1-12.
1-12.
double basses alone, that evokes a loneli- timbrai colorings, or cadential reinforce- ing. As with the first theme, this second
ness similar to that expressed at the be- ment by any other instruments of the sort melody, similarly unadorned by harmony,
ginning of the Introit (there, one will that, as we saw in the Introit, so often seems naked. The chromatic inflection
recall, with violins and violas alone). The find their way into such passages with that begins the phrase appropriately col
modal shape and overall design of this great effect. Instead, the resonance of low ors the mournful text it sets—"Day of
theme, while not actually Gregorian strings is allowed to sing unencumbered, wrath, that day shall dissolve the world
plainchant, reflects the characteristics of their rich tones ringing throughout the into glowing ashes . . —while disrup
those beautiful ancient melodies (see Fig- space without interruption. tive rests add to the unsettled atmosphere
ure 3). What is interesting about this pas- As soon as the low string melody comes of the moment. Once this passage reaches
sage is that Berlioz rather to a full stop, Berlioz introduces a second a full cadence, the opening theme returns,
uncharacteristically (for him) allows eel- theme, this one reserved for sopranos sung now by choral basses (doubled by
los and double basses to present this doubled at the unison and octave by flutes, cellos but not double basses), while a third
mournful tune completely alone, without oboes, and clarinets (see Figure 4)—the layer, a new, pleading countermelody, is
any momentary interjections, additional timbrai contrast with the opening is strik- added in tenor and bassoon (see Figure 5).
di - es il - la sol - vet sae - clum in fa - vil - la _
Figure
Figure4. Berlioz, Grande
4. Messe
Berlioz,
de morts, Dies irae,
Grande
mm. 13-24. Messe de morts, Dies ir
VOLUMEFORTY-THR.EE 39 NUMBER FOUR

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
1] a2 - Soli
Di - es i - rae di - es il - la sol - vet sae - clum,
il - la sol - vet _ sae - clum, sol - vet, sol - vet _ sae - clum _ in fa - vil
Vic.
Figure 5. Berlioz, Grande Messe de morts, Dies irae, mm. 25-36.
JULIUS HERFORD PRIZE

Call For Nominations
Directors Association, is now accepting nominations for the outstanding doctoral terminal research
THE SUBCOMMITTEE forProjects
project in choral music for 2002. theareJulius Herford
eligible if they comprise the Prize, given annually by the American Choral
principal research
component of the degree requirements, whether the institution defines the project as a "dissertation,"
"document," "thesis," or "treatise," etc. Eligibility is limited to doctoral recipients whose degrees were
conferred during the period January 1 through December 31, 2002. The winner will receive $1,000.00 in
cash and a plaque.
Nominations must be approved by the dean, director, or chair of the music unit. An institution may submit
only one document. In the event there are two nominations of equal merit from one school, the administra
tive head of the unit must submit a letter justifying the additional nomination.
A letter of nomination, signed by the administrative head of the music unit, and one unbound copy of the
dissertation must be submitted no later than April 15, 2003, to Dr. Hilary Apfelstadt, Chair of the Julius
Herford Prize Subcommittee, School of Music, The Ohio State University, 1866 College Road, Columbus,
OH 43210-1170. Phone: 614-292-9926. Fax: 614-292-1102. E-mail: apfelstadt.l@osu.edu.
Deadline for Application: April 15, 2003

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
There are three incarnations of this Announcing the First Annual

trio of melodies, each separated by an
ever-expanding, rapidly ascending chro
matic scale (in triplets) that raises each
Loire Valley Handbell Festival Co-conductors
new section to a place higher than the Fred Gramann (Music Director, American Church in Paris)
last: first from A minor to if minor,
Larry Smith (University of Southern Mississippi Carillon Ringers)
then up to D minor, and finally to E Festival concerts at Eglise de la Madelaine (Paris), Chartres Cathedral and at the 11th c.
major: in short a shift of the overall tonal Abbey in Pontlevoy (Loire Valley). Sightseeing in Paris, Chenonceau and Chambord.
landscape up a tritone (see Figures 6a
6c). In the sections following each chro July 21 - 29,2003
matic ascent, the principal bass melody of
Figure 3 remains unchanged. What is es
British European Specialty Tours
Exquisite Festivals and Custom-Designed Tours for Discerning Musical Groups
pecially stunning about these sections, See our full page ad on page 74 of this issue
though, is not the insistent presence of (800) 835-0402 Info@BESTConcertTours.com
that principal tune, but rather how the
Animez un peu
64
la
Animez un peu
Vln.
Via.
Vic.
Db.
Figure
Figure
6a. Berlioz, Grande 6a.
Messe de morts,
Berlioz,
Dies irae, mm. 64-66. Grande Messe de morts

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
Figure
Figure 6b.
6b.
Berlioz,
Berlioz,
Grande
Grande
Messe de
Messe
morts
voices and instruments that surround it

become increasingly more agitated both A Toronto Children's Chorus A
literally and emotionally. Sopranos (with CONDUCTING INTERNSHIP
their wind contingent)
Founded in 1978 by Jean Ashworth Bartle,present an
the Toronto Children's Chorus offers childrenostinato
ages 7-17 an exceptional
artistic and
figure that, in educational experience
its somber, through the study and performance
at oftimes exceptional choral repertoire. The TCC is a
shrill
300-voice internationally renowned ensemble which performs, records and tours worldwide. The successful candidate will
tolling and stubborn resistance against
have the opportunity to study conducting and rehearsal techniques in depth, and to become immersed in the TCCs inner
rhythmic and melodic
artistic and change,
administrative operations. This position is located in Toronto for the termincreases
of August 18, 2003-June 15, 2004.
Two half terms of August 18-December 24 or January 12-June 30 are possible. The conducting intern works with the
the tension considerably (see Figures 7a
Music Director at music camp (August 24-30), all rehearsals (Monday, Tuesday, Friday) and approx. 15 concerts, as well
and 7b). At the same
as on possible tours and recording time, the
projects. This position is ideally suited to a first tenor
musician on sabbatical leave, who has a
line (with string doublings) becomes in

minimum of five years' experience teaching choral music in schools and/or directing a children's community choir. If this
position interests you, submit your curriculum vitae, cover letter and other pertinent data by February 15, 2003, to:
creasingly frantic and breathless as it
Jean Ashworth Bartle, Founder/Music Director, Toronto Children's Chorus
climbs to the top 2180 of Bayviewthe Avenue, Toronto, singers'ON, M4N 3K7, CANADA manage
able range—it is
T (416) difficult
932-8666 to call
/ F (416) 932-8669 / info@torontochildrenschoms.com to mind
/ www.torontochildrenschorus.com
passages in the"I highly choral

recommend this internship literature
program as an invaluably inspiring and enrichingthat
opportunity hr even are
the experienced conductor or teacher." SUSAN BIALEK, Inaugural Intern Conductor, Hyde Park, NY
significantly more taxing for tenors than

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
Tuba
Tuha mirum
minim
|Kl Andante
IK] Andante maestoso
i
&
English
English HornHorn
ff
(in Eb)
Horn (in
Horn (inF)F)^
ff
ff
Tenor
Trombone
(inF) 1
Trumpet
(inEb) 2
ff
Tenor
Trombone
Eb Trumpet ^
ff -
Tenor
Trombone
ff
BbTrumpet
Bb Trumpet
137 fl ff
Tenor
Tenor 1
Trombone 2
Trombone
ff
Ophicleide
Timpani
(1-8)
(8 sets of drums)
» f
n—e
Tam-Tam
h—e
Cymbals
Soprano
T 2
B
[k! Andantemaestoso
I Andante maestoso
Vln. l2
2ff
2 .^ Pp cresc.
Jai * '1 "i 1
mo/to ^
» ff
Via. r 1 1 r f i I I I —
m ]r"T f P
p ff
Vic. r r 1 ~
1 g 'if S 3r £-F-r
'■t't-t JF £ f=r=
-F-r ' J-$J—J J—J—J 5 irnr r«r f up c r *r r*r r
ff p
cresc.
moho ff
Figure
Figure 6c.Messe
6c. Berlioz, Grande Berlioz, Grande
de morts, Dies irae, mm. 137-141. Messe de morts, Dies irae, mm

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
di - es i - rae di - es il - la sol - vet sae-clum in fa - vil - la, sol - vet sae-clum in fa - vil -
Figure
Figure 7a. Berlioz,
7a. Grande
Berlioz,
Messe deGrande
morts, Dies irae,
Messemm. 68-79.
de morts, Dies irae

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
tre mor est fu
p/fT"■
p/fT"■ rmn r-K^n
r*- » —
rw-r^ r*-
IJMi
Mill /> r~r w u
— r;r rT.
r~> r77> r~>
r*-—¡rr
rsn i.I r
J f_J
J J *J ffddJ>
1 i r r 1 1 r f Lê f
^(jjd
J>p7f p
r 1»
p i»
p Jjr
jj?1
f r r«N
est fit - tu - rus
jjj
u
r
cun - cta
eta stri - cte
rrr i rr
lr
dis - cus
i r i if
eus - su
rr1 rff
* LlXl *
1 r r
Li
quan - tus trc - mor quan - do ju dex _ est ven - tu - rus rus, quan - tus, _
quan - tus tre - mor est

est fu
fu - - tu - rus quan - do
/
h-
quan - tus tre - mor est fu tu - rus quan - do
f /
h - =
$ = 4 J è # -ff 3.4 S i-k-S S *
/
,—
r r
/
.
Figure
Figure 7b.
7b. Berlioz, Berlioz,
Grande Grande
Messe de morts, Messe
Dies irae, mm. 104-110. de morts, Dies irae, mm. 104-110.
these.34 The combination of all these ele- gral parts of the overall design.35 To be the final judgment,
ments results in an unrelenting whirlwind sure, Berlioz intended his listeners to be This all-encompassing soundscape dis
of sound that eventually swirls into an all- enveloped by sound here. But the brass solves momentarily into a sparse, com
out frenzy. It is at this moment—the be- fanfares and ensuing percussion do much paratively motionless interlude, only to
ginning of the Tuba mirum with its more than create a noisy cataclysm in live reappear in an even more overwhelming,
famous brass bands—that the full force performance; their inclusion creates a vi- terrifying eruption for full orchestra (in
of Berlioz's orchestral requirements is re- sual spectacle as well as an aural one, as eluding an especially effective cymbal and
vealed. neither eye nor ear is certain from where tam-tam crash) and chorus. This time
The music for the Tuba mirum was or whom the next sound will come. From choral basses accompany the brass fanfare
originally composed for the Messe the initial E'' entry of the first brass group, reprise in obbligato fashion—it is
solennelle of 1824. Dissatisfied with this this blazing fanfare builds gradually until effective when the basses are not
mass as a whole, he pronounced it unsat- all four groups converge with full winds pletely obliterated by the brass. When t
isfactory and burned all but the "Et and the thunderous roar of timpani and Tuba mirum melody returns (now
resurrexit." However, as we learn from bass drum in a violent explosion of sound, the text "Judex ergo cum sedebit..."), so
letters and from his Mémoires, he long Choral basses enter the fray at the top of nos and tenors echo each bass phrase, fir
held hope that this, the one movement he their range—"Tuba mirum spargens at the octave, but gradually by ever-w
thought worth saving, would find a place sonum per sepulcra regionum coget ing intervals. As the music reaches its grand
in a future effort. Thirteen years later it omnes ante thronum"—supported only est cadence yet, violas and cellos in triple
reappeared here with few changes. by rumbling, fortissimo timpani chords join tremolo four-part divisi violins, c
The use of four brass bands placed at (tuned to specific pitches of each triad); ing a massive sound surpassing all
the four corners of the performing body brass and low winds interject triumphant came before.
was perfect for a work in which space, tutti chords to punctuate the basses The Tuba mirum is powerful
sound, and architecture were to be inte- declamatory proclamations announcing frightening; there is little comfort

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
found within. Yet the movement en

not with this awesome display of po
but rather with a return to inner ref
tion. The final sung phrase, "judican
responsura, mors stupebit et natura
included here from an earlier sectio
the Dies irae text.36 Its repetition her
offered sotto voce and in a cappella ph
as a hymn-like meditation, provides a
contrast to the bellowing Tuba/Judex
sages. The choir sings, " [when all c
tures] answer the judge, death and nat
will be stunned." The soul is in the
ence of God; now the drama turns
personal matters. just one hal
step gesture, from the low
Quid sum miser & Hostias: degre
Humanity Revealed frequently
Immediately following the Requiem
two most extroverted movements—
irae and Lacrymosa—are two of its
intimate ones: the Quid sum miser a
the Hostias. The subdued atmospher
both of these movements provid
needed respite from the sonic cornu
that precede them. reflection
The austere sonorities of the Quid su
miser are presented in a slow-paced
Andante
Andante un poco lento (J
un poco = 76)
lento (J = 76)
f p3s r—i—
, I^Q , I. L I
English
English
Horn iZri^rHorn
p p :
1. two players Soli
f f rT-j'
P
p avec un sentiment d'h milite el de crainte
Wt< -
y ' 1 1 1 1 1 t y i 1 11Quidi v '
sum mi - ser
1
Andante
Andanteun pocolentolento
unpoco (J = 76)
(J = 76)
• y =
ppp
PPP
\«J
1
[W*]
\y
tunc di - ctu rus
quern pa - tro - num ro - ga - tu - rus
Vic. 1 | y I | _ I f 1 | _ | -|
Db.
K ^—
Figure
Figure
8. Berlioz, Grande Messe de morts,
8.QuidBerlioz,
sum miser, mm. 1-18. Grande Messe

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
p mf cresc.
r vr r g_r1 r r i1 1 h 1 11 m- u i '■ * r
su - sci - pe pro a - ni - ma - bus il - - lis qua - rum ho - di - e me - mo - ri - am
fa ci - mus.
unis.
div.
nnrn J> V|j ' ' ^ * '
poet) J~ " ■ — —— P
Figure 9. Berlioz, Grande

Figure 9. Messe de morts, Hostias, mm.Grande
Berlioz, 28-46. Messe de mo
purposefully captured that popular sou

here, I think, but not simply because i
was familiar. The choice had a specific
dramatic purpose too. This all-male, ne
chordal sound represented the voice o
the working-class singer, rather than t
trained conservatory musician; it was the
generic voice of the middle class, of "
ery man," of humanity itself. This par
ticular sound fit this moment perfectl
for here Berlioz envisioned a soundscap
that literally re-creates the vacuous ex- m
panse of heaven and hell, with those o
earth reverently offering "sacrifices and
prayers" on behalf of all souls. Berlioz's
orchestration for this depiction is extrao
dinary. Three flutes play stratospheric, s
tained triads while eight trombones ti

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
principal subject first sung by the tenors Berlioz's choral-orchestral writing is the
is the way Berlioz encloses that theme in a J,Lprp Lr/rdlv rt h/ieenrrp waX vocal and instrumental forces are in
There
web of syncopated rhythmic gestures, is hardly
one 1 rJUFUiy a passage
U JJUSSUgC tegrated into the overall design and dra
each for winds, strings, and brass
in(see
his• 1-oeuvre
npljn,Vp fUrif
thatnratic scheme. In the Offertory—a
Figure 10). None of these three gestures Chorus of Souls in Purgatory, as he later
amounts to much by itself. Together, tLjr -mnmPVlt in subtitled it—the orchestra carries the
surpasses
though, they form a powerful, relentless this
¿UrpUSSCb moment
WIS rnumCFll in
M emotional antJ musical burden of the
cluster of interlocking rhythms, each con- ^ ^ movement. The principal fugue subject is
terms
fined to its own distinct timbrai layer. of
tCVTVIS OJ sheer power;
S 66V p0lV6V, a plaintive melody that keeps expanding
Only two contrasting interludes disrupt until it melds seemlessly into a graceful
the insistent forward motion of this ma- countermelody (see Figure 11). The tune's
terial (and even then only temporarily). passage in his oeuvre that surpasses this doleful tone continues the wandering, un
VTien the opening music returns a sec- moment in terms of sheer power; no won- certain atmosphere that has pervaded
ftrd time, blaring fortissimo chords in the ^ j ^ j- j ¡ reportedly brought on "tears" and much of the Requiem to this point. As the
brass choirs and roaring timpani join the or tJlree gooc} fainting fits."42 melody slowly unfolds, sforzando octave
tumult. As if that were not enough to Ds interjected by winds (variously with
reflect the anguish of "that tearful day," Offertory: and without bassoons and French hor
the movement's final section includes an Orchestra as Narrative Voice punctuate the melody's internal ph
exuberant peroration. There is hardly a One of the more unicjue aspects of structure with a funereal toll. To thi
Andante
Andantenon troppo lento non
(J- = 60) troppo lento (J- = 60)
" ■ ti-^Tr . i it
Figure
Figure 10.10.
Berlioz,
Berlioz,
Grande
Grande
Messe de
Messe
morts,
deLacrymosa,
morts, Lacrymosa,
mm. 1-5. mm. 1-5.
VOLUME FORTY-THREE 4o NUMBER FOUR

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC:34:56 UTC
Moderato
Moderato (J =(J
84) = 84)
Figure
Figure 11. 11.
Berlioz,
Berlioz,
Grande Grande
Messe de morts,
Messe Off
d

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
Berlioz overlays a two-pitch

craft involved much more than phrase
merely
chorus that, in its stagnant repetit
tossing musical ideas into all-out incom
calls intonations of prehensible
Gregorian explosions of sound. To only ch
spite the lamentinghaveneighbor
that impression of his music, to re mo
oscillating A-Bl-A half
member only thesteps—th
big moments, is to mis
and lowered sixth understand Berlioz's
scale degrees— compositional
peated phrase seemsprocess
frozen as
and creative vision altogether. In it
claimed unaltered stead, look for136
for the details, for these
of are th
movement's 154 measures.
what give his music its Ostinato
unique sound and
an important part of
seemingly Berlioz's
limitless intensity: his imagi co
tional language, and his use exploration
native and unprecedented of ofthem
the Requiem is by no means
orchestral confin
timbres, his "open attitude to
this instance (the Lacrymosa's orch
the directional sense of harmony" as Hugh
layering discussed earlier
Macdonald puts it,45 his fondness for ex
ample). Here, tended melodic
though, theexcursions, and his re
way h
this ostinato to lentless interest in the
intensify and juxtapositioneven
of
redirect the dramaticextremes.
tone of
All these things the
are an integral w
unparalleled^3 by
part a
of Berlioz's musical prof
style; they are
Following three brief
what give his interrupti
music its inspired dramatic
the fugue proper, voice.
the movements
ward motion begins to disintegr
Beethovenian fashion: NOTES
dynamics st
decrease, instrumentation is wh
down, and melodic cells slowly
' Letter to Humbert Ferrand, January 11,b
apart, until all rhythmic and
1867. Lettres intimes har
(Paris, 1882), pp.
motion finally stalls 302—03,
altogether.
as quoted and translated in D.
is nothing left but the Kern Holoman,
bare,The Creative Process
osc in
choral ostinato. Then, the
unexpectedly
Autograph Musical Documents of Hec
tained A in a single tor Berlioz, c.
flute 1818—1840, 2nd edition
breaks th
the texture to announce a
revised and slowly
corrected (Ann Arbor, Michi u
ing D-major triad, thegan:pitches of
UMI Research Press, 1980), p. 262. w
enter one at a time, measure by
David Cairns, ed., The Memoirs m
of Hector
Significantly, the tension built
Berlioz (New York: W. W. Norton, up
1975), pp. 42-3. All page numbers in
this and subsequent citations of the Mem
NORTHWEST GIRLCHOIR Artistic Director, oirs refer specifically to this edition of
National Search Cairns's translation. Editions issued by
publishers
Northwest Girlchoir, located in Seattle, Washington, Is Artistic Vision - establishing and Implementing the other than W. W. Norton will
a 27 year old community-based performing arts artistic vision for NWGC's choral program, consistent
have different pagination.
organization, where approximately 250 girls from the with its core mission.
Metropolitan King County community learn to sing Mus¡ca| Leadersh¡ based 3 Cairns, Memoirs, pp. 43—44.
excellent
4 Cairns,
excellent music from a broad variety of cultural and mus¡c¡ansb¡ and experience, selecting Memoirs, pp. 46.
appropriate
ethnic traditions under h,gh standards of mus,cianship. toi developing and conducting the
David Cairns, Berlioz 1803-1832: The
Five separate choirs ranging m age from 8 to 18, come performanoe.based choraj educat¡on y
from 126 schools in 38 cities and reflect the multi-ethnic
Making of an Artist, vol. 1 of 2 (Berke
mix of the area. The Artistic Director leads the Supervision - recruiting, hiring, and directing the
approximately 90 member High School age choir, a artistic staff; working collaboratively with theley: University of
Managing California, 2000), p.
smaller Ensemble, as well as the entry level choir of Director and Board of Directors to ensure the 104.artistic
Earlier in his biography, Cairns re
Elementary school girls. Assistant Directors lead the growth and fiscal stability of the organization.
other two choirs. lates a story of Nancy and a girl friend
Inspiration- motivating and developing the skills anc
standing
The Northwest Girlchoir enjoys excellent relations with confidence of young women choristers; forming on a street corner as the local
ties
other local musical organizations, Including the Seattle with the local performing arts community band went
and the past, "the two of them stuff
Symphony, and typically collaborates with these national choral arts community
organizations as part of their concert season. Thewill begin accepting applications immediately.
ing handkerchiefs into their mouths to
NWGC
choirs tour internationally, nationally and regionally. A The app|ication proceSs will remain open stop themselves
until the bursting out laughing at
retreat is offered in the summer. As a non-profit
position is filled. The position will begin either January the excruciating din." (Cairns, Berlioz,
organization, an 18-member Board of Directors governs 2003 or Summer, 2003. Applicants may submit their
this year-round program. Recent annual budgets haveor request additional Information by contacting vol 1, p. 69).
resumes
ranged from $450,000 to $700,000 plus, depending Martha Casne 6 Cairns, Memoirs, p. 48.
upon touring and enrollment. The Northwest Girlchoir co-Chair, Artistic Director Search Committee
employs two full-time and 8 part-time artistic and 02Q8 _ 60,h Avenue NE 7 Cairns, Berlioz, vol. 1, p. 113.
administrative staff, including a Managing Director. Seattle WA 98115 5 Cairns, Memoirs, p. 64. Although no one
The Board of Directors is seeking an Artistic Director 206-985-3969 A www.northwestgirlchoir.org doubts this exchange took place, there is
with proven experience and skills in the following areas: e-mail: info@northwestgirlchoir.org
some question whether it did so in the

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
spring-early summer
Correspondance of stead
générale II, nos. 495 and 1823of those of the [Cairns,
significantly revised
Berlioz, pp. 496,
121-24]
pp. 344, 346. or two score published
years by Ricordi in 1853
laterand
[D. Kern Holoman, Berlioz later, Brandus).
(Cambridge,
20 Scholars long believed that Berlioz destroyed
Mass.: Harvard copies of the Messe solennelle. 22 All musical
all survivingUniversity exerpts in this article
Press, are repro
1989),
p. 37, p. 648, fn
A copy 31.5
of the score resurfaced inand
Bel duced with permission from Barenreiter
Cairns, Mem
oirs,
chapter gium
10, in 1991, pp.
however, and 62—5].
has since Verlag. They are taken from Jiirgen
9 Cairns, Berlioz,
been published vol. 1,ed.,p. Kinderman,
by Hugh Macdonald, 125. ed., Grande Messe des morts,
10 Cairns, Memoirs, p.of the 62. volume 9 of Hector Berlioz: New Edition
Hector Berlioz: New Edition Com
11 For Berlioz's lively
plete Works, account
vol. 23 (Kassel: Bârenreiter, of the Complete
ofWorks his(Kassel: Bárenreiter
first t
with Cherubini 1994), andover
recorded (John which
Eliot Verlag,door
1978). to use
at the Conservatoire,
Gardiner, conductor; Philips 442see Cairns,
137—30Recordings Mem
cannot re-create this effect, nor
oirs, 2, 1994). To read about the discovery,
pp. 60—1. can performances in most concert halls
12 In his first attempt
see Hugh Macdonald, "Berlioz'sin Messe because, unlike
1826 he large gothic-style
failed to g
past the preliminary churches, their reverberation time is not
requirement—a
solennelle, " Nineteenth-Century Music 16/
fugue. 3 (Spring 1993), 267-85. especially long.
13 The programs of the Société des Concerts 21 Jiirgen Kindermann, ed., Hector Berlioz: Cairns, Memoirs, p. 479.
du Conservatoire list a Beethoven sym New Edition of the Complete Works, vol.12 The accentuation of Kyrie eleison here, with
phony, overture, choral work, or move 9 (Kassel: Bârenreiter, 1978), p. x. its first two syllables on an unaccented
ments from a string quartet on all but Cairns, Memoirs, p. 227; Letter to upbeat and with stresses placed on the
four concerts offered in its first ten sea Cherubini, 24 mars 1837, Correspondance last syllable of both words (rather than
sons (1828—37): a total of seventy-nine générale II, no. 492, pp. 339-340. on the more usual first syllable of Kyrie
concerts. (See Antoine Elwart, Histoire '3 Holoman, Berlioz, p. 183 reports the deci and the second of eleison) reflects the
de la Société des Concerts du Conservatoire sion was based on the fact that 1) it was natural accentuation of a native French
Impérial de Musique. Paris: S. Castel, felt that too much money had been spent 33 speaker.
1860.) For a detailed account of the cho on the lavish May wedding (including For another discussion of the Req,
uiem s
ral repertoire performed by the Société the festivities leading up to the ceremony
des Concerts from 1828-1880, as well as itself) of Louis-Philippe's son (the Due
that performed by other Parisian concert d'Orléans) to Hélène of Mecklenburg AUDITIONS
societies—those exclusively choral as well Schwerin, and 2) the governments of
as those with a resident orchestra—see Austria and Russia were uncomfortable
CHANTICLEER
Donna M. Di Grazia, Concert Societies in with such "glorification of revolution." America s Premier
Paris and their Choral Repertoires, c. 24 See Cairns, Memoirs, pp. 229-230 for a A Cappella Vocal Ensemble
1828-1880, 2 vols. (Ph.D. diss., Wash full account.
Chanticleer is accepting applications for
ington University, St. Louis, 1993). 25 Although at the time of the premiere Berlioz all male voice types for the 2003/04
14 For a discussion of some of these issues, see was already in the habit of conducting season. Chanticleer offers full-time,
Donna M. Di Grazia, "Rejected Tradi his own works, French protocol for offi salaried positions (starting high $30s)
tions: Ensemble Placement in cial state occasions such as this dictated with benefits. For more information
Nineteenth-Centuiy Paris," Nineteenth email auditions@chanticleer.org.

that Habeneck, as "premier violon de la
Century Music 22/2 (Fall 1998), musique
190— de roi," should conduct the per Preliminary Audition Requirements
209. • A current résumé
formance. (Kindermann, p. ix.)
15 All these works have been recorded on com • CD or high-bias cassette, recorded on
"6 Cairns, Memoirs, p. 231 (see pp. 230-31
pact disc and are available at good record for a more complete account). Also see
one side containing:
stores or on the internet. 1. One art-song/aria in a foreign language
Cairns's discussion of the validity of this
2. One jazz or popular selection
16 Berlioz dedicated the Requiem to de incident in Memoirs, pp. 594-5.
3. Scales and arpeggios demonstrating
Gasparin in gratitude for his loyalty and 27 Letter to his father, 7 December 1837,
vocal range
support. Correspondance générale II, no. 523, p.
• One photo
17 Letter to Adèle, 17 April 1837. 383. Much of this information is repeated
Note: CD or cassette must be labeled with
Correspondance générale, II: 1832—1842, in a letter to Humbert Ferrand, 17 De
applicant's name and voice part. List
ed. by Frédéric Robert (Paris: cember 1837, Correspondance générale II, recorded selections on the liner card.
Flammarion, 1975), no. 495, pp. 344 no. 528, p. 391. Materials submitted will not be returned.
5, as translated in Hugh Macdonald, ed., 28 Choral conductors considering performing
Materials due Jan. 31, 2003
Selected Letters of Berlioz, translated by this work should be aware that the
Finalists notified by Feb. 28, 2003
Roger Nichols (New York: W. W. Kalmus and G. Schirmer piano-vocal Finals held in San Francisco Apr. 5 & 6, 2003
Norton, 1997), p. 142. scores currently available are full of sig Send materials to:
18 Cairns, Memoirs, p. 228. nificant errors, making their use highly Chanticleer, 1182 Market St., Ste. 216
19 Letters to Adèle, 17 April 1837, and San Francisco, CA 94102
unadvisable. (They used plates from the
www.chanticleer.org
Edouard Rocher, 17 April 1837, first printed edition by Schlesinger in

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
public versus private aspects see versus

Edward of the tenor trombone, in his treatise and
public private aspects Divisionsee
president elect. Westernof
Edward Div
T. Cone, "Berlioz's Divine Comedy: The in a note at the bottomDivine
of this page of
T. Cone, "Berlioz's Comedy: The
sion candidates for president in
elect a
are Edie
Grande Messe des morts," Nineteenth-Cen the score: "These low notes in the tenor
Grande Messe des morts," Copley and Randy Pagel. Candidates fort
Nineteenth-Cen-
tury Music All (1980), 3—16. trombone are little known even by play
34 tury Music All (1980), 3-16.
the nationaltrombone a
R & S chair are Nancy Co
34 TheThe
Requiem is a terrific concert piece that
Requiem ers; they
is aexist,terrific
however, and can be eas concert
and Bill McMillan. piece that e
works with forces of moderate size aswith
works long ily sounded when prepared as they
forces of are Ballots will be mailed
moderate December as
size 1, lon
as the fundamental proportions offundamental
sing here." (Kindermann, p. 114.)
as the 41 proportions of
2002. They must be postmarked sing
no later
ers and instruments are maintained. Although there is no evidence that Wagner
ers and instruments are maintained. than January 31, 2003. Be sure to
' exer
Altho
(Pomona College will be performing it attended a complete performance of the
(Pomona College will be performing cise your voting privilege and take it
an at
inin
April 2003 with approximately
April 2003 150 Requiem, he would have had opportuni
with approximately
active role in ACDA. 150 Req
singers/players
singers/players total.) When performing ties to heartotal.)
excerpts of the work —moveWhen performing ties
thethe ments II, III, V, VI, VII, and IX—both
piece
piece with a college or university choir with a college or
Geneunivers
Brooks
ofof
moderatemoderate
vocal experience, it is not in Paris in 1840 and in Dresden
vocal in 1843.
experience, it is not in P
uncommon to have altos double the ten
uncommon to have
42 Holoman, ed., Catalogue of thealtos
Works of double the ten- Hol
ors
ors (although (although
doing so diminishes the Hector Berlioz, vol. 25 of Hector so
doing Berlioz: diminishes the Hecto
dramatic tenor color Berlioz no doubt
dramatic tenor color
New Edition of the Complete Works Berlioz no doub
had
had in
in mind). mind). (Kassel: Barenreiter,
(Kassel: Bàrenreiter, 1987), p. 163. 1987), p. 163. I ' 'IN
35
35 In performances
In some some performances
43
the brass bands are Forthe brass
another example of this bands From The
kind of orches are 43 For another example of this k
placed at the four corners of the entire tralEditor

placed at the four corners of the entire tral writing with choral ostinati, see
writing with chor
hall.
hall. Whereas
Whereas performingperforming
the movement the
Roméo movement
et Juliette, Romeo et Juliette, movement V (Juliet's
movement V (Juliet's
this
this way
way can can be
be effective, effective,
this is not what this
Funeral is not what Funeral Procession).
Procession).
Berlioz intended
Berlioz intendedororcalled
calledfor—the
for—the live
live 44 Holoman,
Holoman,Berlioz, pp.319,
Berlioz, pp. 319,
320,320, (Continued
508. 508. (Continued from page 4) from page 4)
acousticsofof
acoustics LesLes Invalides
Invalides would would
have haveHugh
4 Hugh
Macdonald,Macdonald,
"Hector Berlioz,""Hector
The Berlioz," The n , , , . ,
, , . . . ri. . . _ _ Berliozs works, choral Berlioz'sconductors
works, choral conductors
can can
made
made suchsuch placement
placement impractical.
impractical. New
New Grove Crove
Dictionary Dictionary
of Music and Mu of Music and Mu- . . . . f, .
36
For r .. .. . ofr,the,numerous
jcicj- jtl gain access to the rich treasure
gain access of
to the rich hisofdi
treasure his di
Fora full discussion
a full discussion of the alter
numerous
sicians,alter-
ed. Stanleysicians, ed. btanley oadie and John . . i
Sadie and John
verse vocal
vocal works.
works. O'Neal
O Neal engages in a
ations
ations Berlioz
Berlioz made
made to to see
the text theCone,
textsee Cone,
Tyrrell, lyrreli,
vol. 3 (London: vol. 3 (London: Macmillan,
Macmillan, . , „ ,. , .engages in a
t. , , „ „ narrative about Berlioz and
2001), 407. pp. 3-16. 2001), 407. rr • i i- i and
narrative the
about piano,
Berlioz
Berlioz
"Berlioz's Divine s Divine
Comedy," Comedy,
pp. 3-16. i i the piano,
37
. r . r effectively making the point
effectively that
making the he
point com
that he com
A
37 A more
more familiar
familiar example example
for readers of this for readers of this i . ». . . , , r
r CI posed many individual posed works for works
many individual voices for voices
same
same evocativeevocative
half-step gesture canhalf-step
be gesture can be I j • r> j i • i
heard
heardin the main theme
in music
the r , the
from and piano.
main Readers
theme are
music andpresented
piano. Readers
from the with
are presented ,a a
. . with
_. test concert and comments test concertabout
and comments about
the the
him
film The
The English English
Patient, where longing, Patient, where longing, • i i r r i
absence,and
absence, . .
anddesire
desire . ,
are
are , music
central
central to the
to the selected for performance
music selected for and
performanceanand an
for
assessment of the results. Her ideas for
movie's
movie's plot. plot. , , ,. r , ,
38
...... r —programming include aprogramming list of selected
include a list of selected
For
For a detailed
a detailed discussion of the Orpheon _ . _ , r> i- i j i
discussion of the Orphéon
' TP npi Berlioz choruses and songs chorusesby voicing,
and
and related
related populist
populist choral
.^r i ruin i From The
societies, see choral societies, see l""1 IVTm Berlioz
Volcanic hruptions:
I h F*
Berlioz
«u ,and
"Volcanic
• rsongs
and
Eruptions:
r> by
i-voicing.
Berlioz
j i •
his
and his
DiDi Grazia,
Grazia, Concert
Concert Societies in Paris, es Societies in Paris, es- . T~~^v • ^ j -k * / „ i
„ , H
pecially vol. 1, pp.
1I 1,
pecially vol. 1, pp. 93-163, and vol. 2, Executive
Cranae
93-163, E)irector
Messe
and vol. 2,
aes morts
XZyXCCUtlVe Di Grande
jL_yireCtOr
by
Messe des Donna
morts"
r^* i i i j i by Donna
Grazia seeks to show the reader that
412
pp. 412-435. 435 Grazia seeks to show the reader that
39
Mainzer
Mainzer
' Berlioz's
had started freehad started
singing classes for
craft
free involved more
Berlioz's than
singing classes forcraft • jtossing
• iinvolved•more
n than
• i tossing
musical ideas into all-out incomprehen
mmmmmmmmmmmmmmmimmmmmmmtmrnmmmmmmm mu
working-class
working-class men in January 1836, just men in January 1836, just ... . r , ^ . .
one
D i, > r i i r own
year after own
S1hê
Wilhem
explosions
s
free classes
of sound, lo of
sible explosions only have
sound. To only have
one year after Wilhem's from page(Continued
free classes
(Continued 2) from paee 2 ) «. • • r l
}
tooktook
v
shape.
L b ^' that
shape.
impression i
of,
his
,
music,
that impressionto
. , .
of hisremem
music, to remem
40
Berlioz
Berlioz We have already begun receiving a large
discusses the use of these pedal discusses
ber only his
the
big moments
use of
asserts th
volume of pre-registrations. You will want Di Grazia, is to misunderstand Berlioz's
tones,
tones, notes
notes found in the lowest register found in the lowest
to
to take advantage take compositional process and creativeof
of the pre-registration advantage vision. th
She invites the reader to look for the de
discount
discount by sending in your registration by sending in
For Music,now. nowCDs tails, & for Videos
these are what
tails, for
of give his
these are whatmusic its its
give his music
unique
unique sound
soundand and
seemingly
seemingly
limitlesslimitless
in in
The King's Elections
Elections tensity. In In
tensity. Singers
her discussion
her discussion of the Gra
of the Grande
and other This issue
quality
This issue of
of the
the
Choral
Choral Messe
Choral Journal
Journal des morts,
con-
Ensembles
con Messe Di Grazia brings into
des morts> Di Grazia b
Come to tains important
tains importantinformation
information focus
about
about some
the of the some
the
focus work's of
most salient
the mo most sa
works
ments. Her intention is to illustrate
www.di-records.com candidates for election as president elect
candidates for election as president elect ments.^ Her intention is to
divisions and
in three divisions and for
for the
theBerlioz's
national
national Berliozs compositional
compositional voice with the voice
DJ Records Repertoire
Repertoire && Standards
Standards chair. hope of encouraging
chair.Candidates
Candidates hoPe of the reader to explore
encouraging the reader
P.O. Box 445 his music more closely as informed listen
for Central
Central Division
Division president
presidentelect
electare
arehis music more closely as inform
Trout Lake WA 98650
MichaelSchwartzkopf
Michael Schwartzkopf andand ers and as
Patricia
Patricia erspossible
and future performers.
as possible future perfo
Ph: 509.395.3611 - Fx: 509.395.9308
Doug Anderson, Owner Wiehe. Sara
Wiehe. SaraLynn
LynnBaird
Baird and
and Donna ^
Donna
.. n ecu Carroll Gonzo Carroll Gonzo
McCommon
McCommonare running for Southern
are running f

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
Selected List of
The following is a selected list of ess
been published in English; it is no
bibliography H readers are directed to
1989). Langford supplements his 198
(Cambridge: Cambridge University Pr
out my own knowledge of the litera
readers are cautioned that the 2003
Berlioz as Composer
Editions
NBE (New Berlioz Edition)

Hector Berlioz: New Edition of the C
OBE {Old Berlioz Edition)

Hector Berlioz Werke. 20 volumes. C
Reprinted by Kalmus with four a
Thematic Catalogue of Wo
Holoman, D. Kern., ed. Catalogue of t

Works, Hugh Macdonald, gen. ed.
Berlioz as Author
Correspondance générale. (9 volumes planned; 8 have already appeared.) Pierre Citron, general editor. Paris: Flammarion,
1972—). Several smaller collections of letters have appeared in English including the following: New Letters of Hector
Berlioz, 1830-68. Edited and translated by Jacques Barzun. New York: Columbia University Press, 1954 (rpt Westport,
Connecticut: Greenwood, 1974), and Selected Letters of Berlioz. Edited by Hugh Macdonald and translated by Roger
Nichols. London: Faber & Faber, 1995 and New York: W. W. Norton, 1997.
Critique musicale 1823-1863. (10 volumes planned; 3 have already appeared.) Yves Gérard, general editor. Paris: Buchet/Chastel,
1996-).
Treatise on Modern Instrumentation and Orchestration. (Grand Traité d'instrumentation et d'orchestration modernes, 1843; 2nd
edition with L'Art du chef d'Orchestre, 1855). Various nineteenth-century French editions. Revised, with additional
musical examples from Wagner and others, by Richard Strauss, translated by Theodore Front (New York: Kalmus, 1948;
rpt. New York: Dover, 1991). A new edition of the 1843 version of the work has been edited by Hugh Macdonald,
Berlioz's Orchestration Treatise: A Translation and Commentary. (Cambridge: Cambridge University Press, 2002.) Peter
Bloom is editing the original French, which will appear as volume 24 of the New Edition of the Complete Works in 2003.
Evenings with the Orchestra {Les Soirées de l'orchestre, 1852). Translated by Jacques Barzun. Chicago: University of Chicago Press,
1956; rpt. 1973, 1999.
La Grotesques de la musique (1859). Edited by Léon Guichard in Oeuvres Littéraires. Paris: Gründ, 1968.
The Art of Music and Other Essays {À traver chants, 1862). Edited and translated by Elizabeth Csicsery-Rónay. Bloomington and
Indianapolis: Indiana University Press, 1994.

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
The Memoirs of Hector Berlioz. (Mé

Gollancz, 1969; various subsequent
2002.
Biographies
Barzun, Jacques. Berlioz and the Romantic Century. 2 vols. Boston: Little, Brown and Company, 1950. (Revised edition, New York:
Columbia University Press, 1969). A one-volume revision appeared in 1956 (Cleveland: World; rpt. Chicago: University
of Chicago Press, 1982) under the title Berlioz and his Century.
Bloom, Peter. The Life of Berlioz. Cambridge: Cambridge University Press, 1998.
Cairns, David. Berlioz 1803—1832: The Making of an Artist. Volume 1 of 2. London: A. Deutsch, 1989; 2nd revised edition,
Berkeley: University of California, 2000.
. Berlioz 1832-1869: Servitude and Greatness. Volume 2 of 2. London: Allen Lane The Penguin Press, 1999. Berkeley:
University of California Press, 2000.
Holoman, D. Kern. Berlioz. Cambridge, Mass.: Harvard University Press, 1989.
Macdonald, Hugh. Berlioz. London: J. Dent, 1982 (and subsequent reprints, including Oxford University Press, 2000)
. "Hector Berlioz," The New Grove Dictionary of Music and Musicians. 2nd edition. London and New York:
Macmillan, 2001, and the online version: <www.grovemusic.com/index.html>.
General Studies
Bloom, Peter, ed. Berlioz Studies. Cambridge: Cambridge University Press, 1992.
. The Cambridge Companion to Berlioz. Cambridge: Cambridge University Press, 2000.
Cone, Edward T. "Inside the Saints Head: The Music of Berlioz," in Musical Newsletter 1, no. 3 (1971), 3—12; 1, no. 4
(1971), 16-20; and 2, no. 1 (1972), 19—22. Reprinted in Music: A View from Delft, ed. Robert Morgan (Chicago:
University of Chicago Press, 1989), pp. 217-48.
Didier, Béatrice, Peter Bloom, Cécile Reynaud, Rémy Strickler, and Gérard Condé. Berlioz écrivain. Paris: Ministère des affaires
étrangères, 2001.
Murphy, Kerry. Hector Berlioz and the Development of Music Criticism. Ann Arbor, Michigan: UMI Research Press, 1988.
Rose, Michael. Berlioz Remembered. London: Faber & Faber, 2001.
Compositional Process and Analysis
Holoman, D. Kern. The Creative Process in the Autograph Musical Documents of Hector Berlioz, c. 1818—1840. Ann Arbor,
Michigan: UMI Research Press, 1980.
Macdonald, Hugh. "Berlioz's Self-Borrowings," Proceedings of the Royal Musical Association 92 (1965-66), pp. 27-44.
Rushton, Julian. The Music of Berlioz. Oxford: Oxford University Press, 2001.
—. The Musical Language of Berlioz. Cambridge: Cambridge University Press, 1983.

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC
Performance Practice and
Appert, Donald. Berlioz, the Conduct
Del Mar, Norman. Conducting Berlio
Holoman, D. Kern. "The Emergence o

ed. by Peter Bloom. Stuyvesant, N
. "Performing Berlioz" in Bloom's C
Macdonald, Hugh. "Berlioz and the M
Williams-Gartrell, Judith. Hector Be
Selected Specialized Studie
Albright, Daniel. Berlioz's Semi-Opera

Rochester Press, 2001.
Cone, Edward T. "Berlioz's Divine Co

Reprinted in Music: A View from
Haar, James. "The Operas and the Dr
Kemp, Ian. "Romeo and Juliet and Ro
Locke, Ralph. "The Religious Works"
Macdonald, Hugh. "Berlioz's Messe so
O'Neal, Melinda. Berlioz's L'Enfance d

University, 1987.
Reeve, Katherine Kolb. " The Damna
Rushton, Julian. "Ecstasy of Emulat

1999), 11-18.
. "The Genesis of Berlioz's La Dam
. Roméo et Juliette. (Cambridge M
Stark, Eric. Berlioz's La Damnation de

Providers of Time and Place Cues.
Web sites [including discographies,
Hector Berlioz Website: <www.hberlioz.com>

Berlioz 2003 Bicentennial Committee: <www.Berlioz2003.com>

82.49.19.160 on Tue, 08 Dec 2020 10:15:19 UTC

This Content Downloaded From 82.49.19.160 On Tue, 08 Dec 2020 10:15:19 UTC

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

This Content Downloaded From 82.49.19.160 On Tue, 08 Dec 2020 10:15:19 UTC

Uploaded by

Copyright:

Available Formats

Volcanic Eruptions: Berlioz and His "Grande Messe des morts"

Author(s): Donna M. Di Grazia

Stable URL: https://www.jstor.org/stable/23554301

This content downloaded from

Si j'étais menacé de voir brûler mon oeu

VOLUME FORTY-THREE 27 NUMBER FOUR

This content downloaded from

For a long while [my father] mad

VOLUME FORTY-THREE 28 NUMBER FOUR

This content downloaded from

logic versus a child's passion for things an

'Your father,' she said, addressing

VOLUME FORTY-THREE 29 NUMBER FOUR

This content downloaded from

surviving work. Two years late

VOLUME FORTY-THREE 30 NUMBER FOUR

This content downloaded from

Deum (1849), as well as a handful o

Roméo et Juliette (1839)

Grande Symphonie funebre

VOLUME FORTY-THREE 31 NUMBER FOUR

This content downloaded from

ing more performers. Although there is a

Call or write for your FREE descriptive

Box 814 Dept. A

VOLUME FORTY-THREE 32 NUMBER FOUR

This content downloaded from

well beyond practical concerns; it extends I found it hard to get on top of my

intrigued by the vivid content of the Latin 3250 28th Street SE

VOLUME FORTY-THREE 33 NUMBER FOUR

This content downloaded from

likely to attend. That the g

VOLUME FORTY-THREE 34 NUMBER FOUR

This content downloaded from

afterward."27 Clearly he had the success of ins

soloist: tenor (Sanctus only)

total chorus 210 singers

brass choirs: I: 4 cornets àa pistons

[Berlioz's note in the

VOLUME FORTY-THREE 35 NUMBER FOUR

This content downloaded from

very first measures. There is a

Resources for music ministry

Anthems for every choir and much more!

VOLUME FORTY-THREE 36 NUMBER FOUR

This content downloaded from

Andante un poco lento (J = 69) Silence

VOLUME FORTY-THREE 37 NUMBER FOUR

This content downloaded from

Berlioz used specifically to describe his se

Ky - ri - e e-le-i - son, Ky - ri - e e - le - i - son,

VOLUME FORTY-THREE 3g NUMBER FOUR

This content downloaded from

di - es il - la sol - vet sae - clum in fa - vil - la _

VOLUMEFORTY-THR.EE 39 NUMBER FOUR

This content downloaded from

Di - es i - rae di - es il - la sol - vet sae - clum,

Figure 5. Berlioz, Grande Messe de morts, Dies irae, mm. 25-36.

JULIUS HERFORD PRIZE

Deadline for Application: April 15, 2003

VOLUME FORTY-THREE 40 NUMBER FOUR

This content downloaded from