Berlioz and Debussy: Sources, Contexts and Legacies (essays in honour of François Lesure)

236 Pages·2007·3.908 MB·English

by  Berlioz, Hector, Debussy, Claude, Kelly, Barbara L., Lesure, François, Murphy, Kerry

Berlioz and deBussy:
sources, contexts and legacies
essays in Honour of François lesure
the late François lesure, photographed in 2001. reproduced
with permission from anik lesure.
Berlioz and debussy:
sources, contexts and legacies
essays in Honour of François lesure
Edited by
BarBara l. Kelly
Kerry MurpHy
First published 2007 by Ashgate Publishing
Published 2016 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
711 Third Avenue, New York, NY 10017, USA
Routledge is an imprint of the Taylor & Francis Group, an informa business
Copyright © 2007 Barbara l. Kelly and Kerry Murphy
Barbara l. Kelly and Kerry Murphy have asserted their moral right under the
Copyright, Designs and Patents Act, 1988, to be identified as the editors of this
work.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in
any form or by any electronic, mechanical, or other means, now known or hereafter
invented, including photocopying and recording, or in any information storage or
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Product or corporate names may be trademarks or registered trademarks, and are
used only for identification and explanation without intent to infringe.
British library cataloguing in publication data
Berlioz and debussy: sources, contexts and legacies: essays in honour of
François lesure
1. Berlioz, Hector, 1803–1869 – criticism and interpretation 2. debussy,
claude, 1862–1918 – criticism and interpretation
i. Kelly, Barbara l. ii. Murphy, Kerry iii. lesure, François
780.9′22
library of congress cataloging-in-publication data
Berlioz and debussy: sources, contexts and legacies: essays in honour of
François lesure / edited by Barbara l. Kelly and Kerry Murphy.
p. cm.
1. Music – France –19th century – History and criticism. 2. Music – France
– 20th century – History and criticism. 3. Berlioz, Hector, 1803–1869 –
criticism and interpretation. 4. debussy, claude, 1862–1918 – criticism and
interpretation. i. Kelly, Barbara l. ii. Murphy, Kerry. iii. lesure, François.
Ml270.1.B47 2007
780.92′244–dc22
2006032411
isBn 9780754653929 (hbk)
contents
List of Figures and Tables vii
List of Music Examples ix
Notes on the Contributors xi
Preface: In Honour of François Lesure
Jeanice Brooks xv
Introduction
Barbara Kelly and Kerry Murphy xxi
part one: Berlioz and His time
1 Berlioz, dalayrac and song 3
David Charlton
2 Mozartian undercurrents in Berlioz: appreciation, resistance
and unconscious appropriation 19
Benjamin Perl
3 ‘oratorium eines zukunftsmusiker’? the pre-history of
L’Enfance du Christ 35
Julian Rushton
4 a new source for Berlioz’s Les Troyens 53
Hugh Macdonald
5 Berlioz and the piano at the great exhibition: the challenge of
impartiality 67
Kerry Murphy
part two: debussy and His contemporaries
6 Taming Two Spanish Women: Reflections on Editing Opera 83
Richard Langham Smith
7 grieg, the société nationale, and the origins of debussy’s string
Quartet 103
Michael Strasser
vi contents
8 symbolism as compositional agent in act iV, scene 4 of
debussy’s Pelléas et Mélisande 117
Marie Rolf
9 a sociology of the apaches: ‘sacred Battalion’ for Pelléas 149
Jann Pasler
10 Ravel after Debussy: Inheritance, Influences and Style 167
Barbara L. Kelly
afterword: the origins of the Œuvres complètes de Claude Debussy 181
Roy Howat
Bibliography 193
Index 203
list of Figures and tables
Figures
6.1 a page from the livret de mise-en-scène to Carmen, recopied and
interleaved with pages from the printed libretto. 96
6.2 cover-page for the mise-en-scène of carmen (association de la
régie théâtrale) 98
9.1 literary critic 150
9.2 Klingsor 153
9.3 Music critic 164
a.1 at the Fondation des treilles, July 1986 185
a.2 some intense editorial debate, café de l’opéra, 1990 191
Tables
1.1 opéras-comiques before Boieldieu in earlier nineteenth-century
revival 6
1.2 opéra-comique sources of Berlioz’s guitar arrangements 13
5.1 Musical instrument Jury, great exhibition, 1851 68
6.1 the sources of Bizet’s Carmen 86
7.1 number and types of chamber Works appearing on société
nationale programmes, 1871–91 109
7.2 Works by grieg performed at société nationale concerts,
as listed in the programme. 110
7.3 programme for concert no. 197 of the société nationale
(28 december 1889) 113

list of Music examples
1.1 Dalayrac, ‘Ton amour, ô fille chérie’ from Azémia. 9
1.2 dalayrac, ‘aimable et belle’ from Adolphe et Clara. 10
1.3 ‘chanson languedocienne’ used in the Favarts’ Annette et Lubin. 11
1.4 della-Maria, ‘Que d’établissements nouveaux’ from
L’Opéra-comique, copied by Berlioz. 14
1.5 Berlioz, ‘petit oiseau. chanson de paysan’ (opening). 18
6.1 Bizet, ‘l’almée’ from Djamileh, opening bars 1–10.
document BHVp-art. reproduced with permission. 92
6.2 debussy, Rodrigue et Chimène, act ii, tableau 2, bars 593–606.
document BHVp-art. reproduced with permission. 93
6.3a Bizet: ‘l’almée’ from Djamileh. document BHVp-art.
reproduced with permission. 93
6.3b debussy, Rodrigue et Chimène, act ii, tableau 2. document
BHVp-art. reproduced with permission. 93
8.1 dramatic and Musical structure of act iV, scene 4 of debussy’s
Pelléas and Mélisande. reproduced with permission. 122
8.2a additive Variation. 125
8.2b Motivic and rhythmic Variants. 126
8.2c transformation of intervallic content. 127
8.3 Foreshortening. 128
8.4 additive, Foreshortening and interruption procedures. 130–31
8.5 shared Material in the Modéré and animé sections. 132
8.6a pelléas’s Motif, act i, scene 2. 135
8.6b pelléas’s Motif, act iV, scene 4. 136
8.6c pelléas’s Motif, act iV, scene 4. 137
8.7 grace-note Motive of the Well. 138
8.8a part i of act iV, scene 4 (beginning). 140–41
8.8b part i of act iV, scene 4 (end). 142–3
8.9 Beginning of act iV, scene 4 (pelléas’s entrance). 144
8.10 part ii of act iV, scene 4 (pelléas’s search for beauty). 145–6
10.1 ravel, sonata for Violin and cello, second movement,
rehearsal figures 5–7. © Éditions Durand, reproduced with
kind permission from Éditions Durand. 175
10.2 ravel, ‘aoua!’, Chansons madécasses, rehearsal figure 1.
© Éditions Durand, reproduced with kind permission from
Éditions Durand. 178