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Berlioz frequently explored other worlds in his writings, from the
imagined exotic enchantments of New Zealand to the rings of Saturn
where Beethoven's spirit was said to reside. The settings for his
musical works are more conservative, and his adventurousness has
instead been located in his mastery of the orchestra, as both
orchestrator and conductor. Inge van Rij's book takes a new
approach to Berlioz's treatment of the orchestra by exploring the
relationship between these two forms of control - the orchestra as
abstract sound, and the orchestra as collective labour and
instrumental technology. Van Rij reveals that the negotiation
between worlds characteristic of Berlioz's writings also plays out
in his music: orchestral technology may be concealed or
ostentatiously displayed; musical instruments might be
industrialised or exoticised; and the orchestral musicians
themselves move between being a society of distinctive individuals
and being a machine played by Berlioz himself.
Berlioz frequently explored other worlds in his writings, from the
imagined exotic enchantments of New Zealand to the rings of Saturn
where Beethoven's spirit was said to reside. The settings for his
musical works are more conservative, and his adventurousness has
instead been located in his mastery of the orchestra, as both
orchestrator and conductor. Inge van Rij's book takes a new
approach to Berlioz's treatment of the orchestra by exploring the
relationship between these two forms of control - the orchestra as
abstract sound, and the orchestra as collective labour and
instrumental technology. Van Rij reveals that the negotiation
between worlds characteristic of Berlioz's writings also plays out
in his music: orchestral technology may be concealed or
ostentatiously displayed; musical instruments might be
industrialised or exoticised; and the orchestral musicians
themselves move between being a society of distinctive individuals
and being a machine played by Berlioz himself.
Brahms once complained that singers never performed his songs in
the groups in which he had published them, which he likened to
'song bouquets'. Over a century later, many singers and
musicologists continue to ignore Brahms's wishes and focus on the
individual songs rather than the bouquet groups. This is a detailed
study of the implications of Brahms's comments. Following an
examination of contemporary aesthetic and generic frameworks, the
book traces Brahms's Lieder from their conception, to the
arrangement into bouquets, to performance and reception, and
examines the sometimes contradictory roles played by poet,
composer, performer and recipient in creating coherence in song
collections. An investigation of the graphic cycles of Max Klinger
reveals a startling visual analogue of Brahms's conception of the
song bouquet, and a final examination of the evidence of Brahms's
aesthetic outlook reveals that his intentions may have been cyclic
in more than one sense.
Brahms once complained that singers never performed his songs in
the groups in which he had published them, which he likened to
'song bouquets'. Over a century later, many singers and
musicologists continue to ignore Brahms's wishes and focus on the
individual songs rather than the bouquet groups. This is the first
detailed study of the implications of Brahms's comments. Following
an examination of contemporary aesthetic and generic frameworks,
the book traces Brahms's Lieder from their conception, to the
arrangement into bouquets, to performance and reception, and
examines the sometimes contradictory roles played by poet,
composer, performer and recipient in creating coherence in song
collections. An investigation of the graphic cycles of Max Klinger
reveals a startling visual analogue of Brahms's conception of the
song bouquet, and a final examination of the evidence of Brahms's
aesthetic outlook reveals that his intentions may have been cyclic
in more than one sense.
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