Post by erik on Jul 18, 2020 18:55:37 GMT -5
Hector Berlioz never composed an "official" instrumental concerto, but he did so in all but name with the work in this week's Classical Works Spotlight.
Berlioz: HAROLD IN ITALY (FOR VIOLA AND ORCHESTRA), OP. 16
Officially, Hector Berlioz never really composed any instrumental concertos, even as he had works like the Symphonic Fantastique that revolutionized music in the early 19th century. But he did manage to compose what he considered a “symphony with solo viola part”, “Harold In Italy”. Berlioz was encouraged to compose the work at the suggestion of Nicolo Paganini; and he did so with inspiration from Lord Byron’s poem “Childe Harold’s Pilgrimage”. In Paganini’s view, however, the viola part that Berlioz wrote for the work wasn’t substantial enough for him, given that he himself had intended to play that solo part; and subsequently, the two composers departed with what could only be deemed a sense of disappointment. Even so, “Harold In Italy” does have a fairly virtuosic part for any viola soloist, and it is in effect a concerto (with a typically large orchestra associated with both Berlioz and Paganini), though it is structured in four movements, more like a symphony: (1) Adagio (Harold In The Mountains); (2) Allegretto (March Of The Pilgrims Singing The Evening Prayer); (3) Allegro Assai (Serenade Of An Abruzzi Mountain-Dweller To His Mistress); and (4) Allegro Frenetico (Orgy Of Brigands/Memories Of Scenes Past). The work was premiered on November 23, 1834 with the Paris Conservatory Concerts Society Orchestra conducted by Narcisse Girard, and Chretien Urban as the viola soloist. Although Urban’s performance of the second movement of “Harold In Italy” was so well received that it got an encore, Berlioz himself was less than satisfied, to the point where from that point on he himself would be conducting the premieres of any future orchestral works of his. Given how few concertos for the viola there are in the repertoire, “Harold In Italy” remains perhaps the best example of a work that is a concerto in everything but name.
Viola: RIVKA GOLANI
San Diego Symphony Orchestra/YOAV TALMI (Naxos)
Included:
OVERTURE TO “LE FRANC JUGES”, OP. 3
REVERIE AND CAPRICE FOR VIOLIN AND ORCHESTRA, OP. 8 (Violin: IGOR GRUPPMAN)
Berlioz: HAROLD IN ITALY (FOR VIOLA AND ORCHESTRA), OP. 16
Officially, Hector Berlioz never really composed any instrumental concertos, even as he had works like the Symphonic Fantastique that revolutionized music in the early 19th century. But he did manage to compose what he considered a “symphony with solo viola part”, “Harold In Italy”. Berlioz was encouraged to compose the work at the suggestion of Nicolo Paganini; and he did so with inspiration from Lord Byron’s poem “Childe Harold’s Pilgrimage”. In Paganini’s view, however, the viola part that Berlioz wrote for the work wasn’t substantial enough for him, given that he himself had intended to play that solo part; and subsequently, the two composers departed with what could only be deemed a sense of disappointment. Even so, “Harold In Italy” does have a fairly virtuosic part for any viola soloist, and it is in effect a concerto (with a typically large orchestra associated with both Berlioz and Paganini), though it is structured in four movements, more like a symphony: (1) Adagio (Harold In The Mountains); (2) Allegretto (March Of The Pilgrims Singing The Evening Prayer); (3) Allegro Assai (Serenade Of An Abruzzi Mountain-Dweller To His Mistress); and (4) Allegro Frenetico (Orgy Of Brigands/Memories Of Scenes Past). The work was premiered on November 23, 1834 with the Paris Conservatory Concerts Society Orchestra conducted by Narcisse Girard, and Chretien Urban as the viola soloist. Although Urban’s performance of the second movement of “Harold In Italy” was so well received that it got an encore, Berlioz himself was less than satisfied, to the point where from that point on he himself would be conducting the premieres of any future orchestral works of his. Given how few concertos for the viola there are in the repertoire, “Harold In Italy” remains perhaps the best example of a work that is a concerto in everything but name.
Viola: RIVKA GOLANI
San Diego Symphony Orchestra/YOAV TALMI (Naxos)
Included:
OVERTURE TO “LE FRANC JUGES”, OP. 3
REVERIE AND CAPRICE FOR VIOLIN AND ORCHESTRA, OP. 8 (Violin: IGOR GRUPPMAN)
It's also a great example of effective 'program music' and shows several interesting sides of Romantic ideas, very individual too. Berlioz is a fine composer I think with many interesting sides.