Robert Cowan – Emily's Music Dump

Hector Berlioz (1803-1869)

BBC Symphony Orchestra, Andrew Davis – Conductor

Recorded live at Hitomi Kinen Kodo, Tokyo, on May 28, 1993 (BBC Music)

ONE-SENTENCE REVIEW:

What to say about this version of Berlioz’s Symphonie Fantastique that I didn’t say about the last one… oh, yeah… this one is better!

ORIGINAL LINER NOTES (by Robert Cowan):

Berlioz’s semi-autobiographical Symphonie Fantastique grew out of his burning infatuation for the Irish actress Harriet Smithson. He had seen Smithson play Ophelia in 1827, and his Symphonie was completed three years later.

Berlioz himself stated in a programme note that it was his intention in the piece to ‘treat various states in the life of an artist, insofar as they have musical quality.’

It was the first major orchestral work to follow a detailed programme, and broke new ground by introducing the concept of an idee fixe, or recurring ‘motif,’ in this instance representing Harriet Smithson.

Wagner was to learn a great deal from Berlioz’s innovation and indeed his own ‘leitmotif’ is inconceivable without Berlioz’s inspired prompting.

A further revolutionary aspect of the symphony is its five-tier structure.

Each movement has a subtitle that refers to a specific aspect of the programme: the first, ‘Daydreams – Passions,’ reflects wavering joys, fears and frustrations in the face of amatory obsession; the second, ‘A Ball,’ recalls happier times, but a chance encounter with the beloved deflates its high spirits; ‘In the Meadows’ opens to the pastoral piping of two shepherds and ends with distant thunder; the ‘March to the Scaffold’ reports the artist’s attempted suicide, his dreams of killing the woman he loved and his death by the guillotine; and ‘Sabbath Night’s Dream’ finds him among spirits, sorcerers and monster, preparing for his own funeral.

Berlioz’s original scoring included an ophicleide (an obsolete low brass instrument, commonly replaced nowadays by the tuba), bells (doubled, originally, by six pianos), an E-flat clarinet, and a pair of cornets, although the cornets aren’t always used in modern-day performances.

The Symphonie Fantastique, or five ‘episodes in the life of an artist,’ was premiered at the Paris Conservatoire on December 5, 1830, under the direction of Francois-Antoine Habeneck.

Another leading pioneer of musical Romanticism, Franz Liszt, was in the audience, and within three years he had undertaken the gargantuan task of transcribing the entire symphony for piano solo.

TRACK LISTING:

1: Daydreams – Passions [15:05]
2: A Ball [6:13]
3: In the Meadows [15:52]
4: March to the Scaffold [6:29]
5: Sabbath Night’s Dream [9:57]

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FINAL THOUGHT:

This whole bit about Berlioz writing this piece for some Irish actress chick was news to me. And they ended up marrying in 1833 (the liner notes should have mentioned that!). The marriage fell apart by 1840 after Berlioz started having an affair. Harriet Smithson moved out, suffered a form of paralysis that left her barely able to speak and died in 1854. Just another tragic tale from the Romantic era.

(I put pictures of Harriet Smithson in throughout the notes because she is more interesting looking that Hector Berlioz – sort of like Kristen Wiig in this one.)

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

Bela Bartok (1881-1945)

Duke Bluebeard’s Castle

BBC National Orchestra of Wales – Mark Elder, conductor (BBC Music)

Recorded: Live at St. David’s Hall, Cardiff, Wales – January 11, 1992

ONE-SENTENCE REVIEW:

For some reason, I thought Bluebeard was a pirate story – but, in reality, he is a violent guy who keeps marrying and murdering his wives – and then brings the next potential wife to his castle (think Sweeney Todd with less of a motive).

ORIGINAL LINER NOTES:

The early years of this century witnessed radical developments in Hungarian music and literature. Endre Ady and Bela Balazs achieved significant reforms in poetry and drama, and Bela Bartok joined forces with his friend Zoltan Kodaly to explore the riches of Hungarian folk music.

Balazs dedicated his one-act play Bluebeard’s Castle to both Bartok and Kodaly, but it was Bartok who responded more readily to Balazs’s potent symbols and storyline.

The idea of male secrecy challenged by female curiosity must have greatly appealed to him: he was, after all, a profoundly private individual whose life was underscored by powerful infatuations and deep-rooted relationships.

All three of Bartok’s stage works – Bluebeard’s Castle, The Wooden Prince and The Miraculous Mandarin – deal with some aspect of man’s relationship to woman.

Bartok wasn’t the first composer to set the story of Bluebeard to music: Gretry, Offenbach and Dukas preceded him. But the Bartok/Balazs collaboration is unique – in its narrative simplicity, the psychological force that lies behind the characters and in its very personal symbolism.

The drama is internalized, its outward manifestations merely the guides to a whole range of repressed conflicts. The descriptive power of the music equals, indeed surpasses, most other works of its kind; seven doors and seven meaningful spectacles behind them, all reflected in orchestration that is so startlingly graphic that a physical stage set hardly seems necessary.

It is for this reason that Bluebeard’s Castle relies less on its theatrical production than on its musical interpretation.

Although its musical language is firmly rooted among the somber woodlands of Debussy’s Pelleas, Bluebeard has its own spicy tang and graphic impact.

Bartok revised his original score before the 1918 Budapest premiere and continued in effect minor changes up until the Thirties.

In its final form, Bluebeard’s Castle is unquestionably one of the century’s most magnetic operatic masterpieces.

TRACK LISTING:

1: Prologue: auguries of darkness and desire [3:16]
2: The arrival [15:21]
3: First Door: the torture chamber [4:41]
4: Second Door: the armory [4:17]
5: Third Door: the treasury [2:17]
6: Fourth Door: the garden of flowers [4:52]
7: Fifth Door: expansive domains [6:46]
8: Sixth Door: the lake of tears [13:52]
9: Seventh Door [9:47]

FINAL THOUGHT:

It’s pretty dark, disturbing stuff – now some of those pictures of Bartok (from previous blogs here and here) make a little more sense.

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

Tag: Robert Cowan

Berlioz: Symphonie Fantastique (BBC)

Bela Bartok – Duke Bluebeard’s Castle