Hostname: page-component-586b7cd67f-rdxmf Total loading time: 0 Render date: 2024-11-22T11:10:24.589Z Has data issue: false hasContentIssue false

Miniatures of a Monumentalist: Berlioz's Romances, 1842–1850*

Published online by Cambridge University Press:  17 June 2013

Abstract

This article reassesses Berlioz's complex relationship to the French romance. Berlioz is often regarded as a musical revolutionary who made his mark writing massive, path-breaking symphonies – a far cry from the popular songs that became a staple of the bourgeois woman's salon. Yet he wrote romances throughout his life. How are we to understand these songs in the context of his overall output? What did the genre mean to him? How do his romances relate to the larger works on which his reputation rests? I explore these questions in relation to the romances he composed or revised between 1842 and 1850, a period often regarded as a fallow one for Berlioz but one that nonetheless saw a surge of songwriting activity. Drawing upon recent theories about the autobiographical construction of Berlioz's music, and considering when these songs were written or revised, to whom they were dedicated, what images were associated with them and how their texts relate to the events of Berlioz's biography, I argue that their conventionality belies a deeply personal resonance and a musical ingenuity uncommon to the romance genre. As a whole, these songs show Berlioz returning to an intimate and direct style during an especially introspective and nostalgic period of his life. Even more, they suggest that his urge toward self-reflection was not confined to the programmatic and the large-scale, and that his miniatures and monuments have more in common than one might think.

Type
Research Article
Copyright
Copyright © Cambridge University Press 2013 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

*

An earlier version of this paper was presented at the annual meeting of the American Musicological Society in Los Angeles, in 2006. Research on this project was supported by a Faculty Research Fellowship from the Oregon Humanities Center. I am grateful to Francesca Brittan, the late Anne Dhu McLucas, and the two anonymous readers for providing comments on an earlier draft.

References

1 Joseph d'Ortigue, Journal des Débats, 1 July 1852Google Scholar

2 Barzun, Jacques, ‘Fourteen Points About Berlioz and the Public, or Why There is Still a Berlioz Problem’, in Berlioz: Past, Present, Future, ed. Peter Bloom (Rochester: University of Rochester Press, 2003)Google Scholar

Rushton, Julian, The Music of Berlioz (Oxford: Oxford University Press, 2003)Google Scholar

3 Rushton, Julian, Les Nuits d’été: Cycle or Collection’, in Berlioz Studies, ed. Peter Bloom (Cambridge: Cambridge University Press, 1992)Google Scholar

Bloom, Peter, ‘In the Shadows of Les Nuits d’été’, in Berlioz Studies, 80–111Google Scholar

Lütteken, Laurenz, ‘“erfordert eine ziemlich grosse Sensibilität bei der Ausführung”: Anmerkungen zum Liederzyklus Les Nuits d’Été von Hector Berlioz’, Musicologia Austriaca 8 (1988), 41–64Google Scholar

4 Rushton, Julian, ‘The Lyric Berlioz’, in The Music of Berlioz, 165–191Google Scholar

Fauser, Annegret, ‘The Songs’, in The Cambridge Companion to Berlioz, ed. Peter Bloom (Cambridge: Cambridge University Press, 2000)Google Scholar

Arandas, Jorge, ‘Mélodies, ballades, romances et autres chansons’, in Berlioz, ed. Christian Wasselin and Pierre-René Serna (Paris: Éditions de l'Herne, 2003)Google Scholar

Frits Noske, French Song from Berlioz to Duparc: The Origin and Development of the Mélodie, second edition, trans. Rita Benton (New York: Dover Publications, Inc., 1970), 97–115Google Scholar

Warrack, John, ‘Berlioz's Mélodies’, The Musical Times 110 (1969), 252–254Google Scholar

Dickinson, A. E. F., The Music of Berlioz (New York: St. Martin's Press, 1973)Google Scholar

5 Hector Berlioz, New Edition of the Complete Works, gen. ed. Hugh Macdonald [Kassel: Bärenreiter, 1969–2006]Google Scholar

6 Peter Bloom reminds us that Schubert's Lieder were published in France most often as ‘mélodies’, but Mendelssohn's Lieder ohne Worte became ‘romances sans paroles’ (‘In the Shadows of Les Nuits d’été’, 81).

7 A case in point is Berlioz's collection Neuf Mélodies (later published as Irlande), whose title indicates not so much the musical genre of the songs – they in fact fall squarely in the romance tradition – as the source of the poetry Berlioz set (in French translation): Thomas Moore's Irish Melodies.

8 ‘Les Champs’ appeared in 1834 in the fashion magazine La Romance, ‘La Belle Isabeau’ and ‘Le Chasseur danois’ were published in Le Monde musical's holiday album (January 1843 and 1844, respectively) and ‘La Mort d'Ophélie’ was published in the Album de chant de la Gazette musicale in January 1848.

9 Hector Berlioz, The Memoirs of Hector Berlioz, trans. and ed. David Cairns (New York: Knopf, 2002)Google Scholar

10 The Collection de 32 Mélodies. Berlioz added the cantata Le Cinq mai to the 32 Mélodies in 1864 (thus the frequent reference to this collection as 32/33 Mélodies).

11 Macdonald, Hugh, Berlioz (Oxford: Oxford University Press, 2000)Google Scholar

12 Dickinson, The Music of Berlioz, 110, 120–121Google Scholar

13 Brittan, Francesca, ‘Berlioz and the Pathological Fantastic: Melancholy, Monomania, and Romantic Autobiography’, 19th-Century Music 29/3 (Spring 2006), 211–236Google Scholar

Langford, Jeffrey, ‘The Byronic Berlioz’, Journal of Musicological Research 16/3 (1997), 199–221Google Scholar

14 William Cheng explores the roots of these biases in a recent article on the French romance, ‘Hearts for Sale: The French Romance and the Sexual Traffic of Musical Mimicry’, 19th-Century Music 35/1 (Summer 2011), 34–71 (see especially 62–66).

15 The opera to which Berlioz devoted his energies was La Nonne sanglante, with a libretto by Eugène Scribe. The two worked on the project sporadically between 1841 and 1846 but eventually had to set it aside because of poor relations and a lack of true commitment on either side.

16 See Berlioz's Memoirs, chapter 54, 448–53 for an account of the composition and performance of Damnation, and the blow dealt to him by its cold reception.

17 Berlioz, Memiors, chapter 53Google Scholar

18 Berlioz, Memoirs, chapter 53, 374–375Google Scholar

19 From a letter to the architect Joseph-Louis Duc of 26 May 1848. See Correspondance générale de Hector Berlioz, general ed. Pierre Citron, volume 3: 1842–50, ed. Citron, 545–8. (Hereafter CG3, CG4, etc.) Quoted, in part, and translated in Cairns, Servitude and Greatness, 413–14.

20 Berlioz, CG3, 556–557Google Scholar

21 Berlioz, Memoirs, preface, 4Google Scholar

22 Berlioz, Memoirs, preface, 4Google Scholar

23 Berlioz, Memoirs, chapter 59, 506Google Scholar

24 Heidlberger, Frank, ‘“Artistic Religiosity”: Berlioz Between the Te Deum and L'Enfance du Christ, in Berlioz: Scenes from the Life and Work, ed. Peter Bloom (Rochester: University of Rochester Press, 2008)Google Scholar

25 Kohrs, Klaus Heinrich, Autobiographie als Kunstentwurf (Frankfurt am Main: Stroemfeld, 2003)Google Scholar

26 Kohrs, Autobiographie, 10Google Scholar

27 Fauser, ‘The Songs’.

28 Nalbantian, Suzanne, Aesthetic Autobiography: From Life to Art in Marcel Proust, James Joyce, Virginia Woolf and Anaïs Nin (London: Macmillan, 1994)CrossRefGoogle Scholar

29 Fauser, ‘The Songs’, 122Google Scholar

30 Berlioz, Mélodies (Deutsche Grammophon, 1994)Google Scholar

31 Holoman, Berlioz, 364 and 410Google Scholar

Cairns, Servitude and Greatness, 231Google Scholar

32 Raby, Peter, Fair Ophelia: A Life of Harriet Smithson (Cambridge: Cambridge University Press, 1982)Google Scholar

33 Henri Blanchard, Revue et Gazette musicale (6 December 1847), 424–425Google Scholar

34 Berlioz completed this choral-orchestral version for a Musical Shakespeare Night at Covent Garden, which never in fact took place. See NBE12b, ed. David Charlton (1993), x.

35 From lines 13 and 14 of Book I of Tristia. See Tristia, trans. Arthur Leslie Wheeler (Loeb Classical Library, 151) (Cambridge, Mass.: Harvard University Press, 1959), 2.

36 Ovid was exiled by emperor Augustus, at the age of 50, to Tomos, where he wrote Tristia. David Charlton, in NBE12b, explicitly draws the connection between Ovid's condition and Berlioz's: ‘[Tristia's] relevance to Berlioz was threefold: meditation on personal sorrow; conception away from home (the revolution of 1848 kept the composer in London until around 14 July, and he despaired of any future in Paris); and artistic similarity of purpose’ (xi).

37 Adolphe Jullien, Hector Berlioz, sa vie et ses oeuvres (Paris, 1888), 189Google Scholar

38 Raby, Fair Ophelia, 179–182Google Scholar

39 Johnson, Lee, The Painting of Eugène Delacroix: A Critical Catalogue (Oxford: Clarendon Press, 1981–86)Google Scholar

40 Berlioz, Memoirs, chapter 59, 508Google Scholar

41 Holoman, Berlioz, 364Google Scholar

42 Cairns, Servitude and Greatness, 231Google Scholar

43 The album includes songs by Berlioz, Félicien David, Eckert, Gouin, Halévy, Kastner, Meyerbeer, Panofka and Vivier. Blanchard made it clear in his announcement preceding the album's publication that these songs were intended to provide contrast with many of the ‘short-breathed’ and ‘restrained’ romances of the day (Revue et Gazette musicale [26 December 1847], 424). Many, like ‘Ophélie’, do reach beyond the ‘pure’ romance (romance pur sang), with more active and colourful accompaniments and expressive harmonies, but Berlioz's song most deftly brings together the charm and grace of the romance with a real feeling of pathos and a spirit of musical invention.

44 Heather Hadlock emphasizes this point. In Berlioz's hands, Ophelia's death ‘results not in silence, but in the amplification of her song.’ See ‘Berlioz, Ophelia, and Feminist Hermeneutics’, in Berlioz: Past, Present, Future, 129. Hadlock further relates the song's vocalise to Harriet's unintelligible speech in her 1827 Hamlet performance, arguing that the song ‘encodes … the memory of hearing and seeing Smithson’ (127).

45 Strophic variation was by no means uncommon to the romance genre; Meyerbeer, for example, used this technique often in his songs. Yet of all the songs in the Gazette album only ‘Ophélie’ is in varied strophic form; all the others are simple strophic.

46 The song was never published. It exists only on an albumleaf dated 12 November, eight days after Berlioz had arrived in London. The music is so brief on this albumleaf (a mere 13 bars) that it seems more a sketch of a song than a full-fledged song itself – though there is no reason to believe Berlioz intended to do anything more with it. See NBE15, xviii.

47 ‘Nessun maggior dolore/Che ricordarsi del tempo felice/Ne la miseria’, from Dante Alighieri, Inferno, canto V, lines 121–3. See The Divine Comedy, trans. Charles S. Singleton, Bollingen Series, 80, 2nd ed., 6 vols. (Princeton, 1997), volume 1: Inferno, 55.

48 Berlioz, CG3, 719Google Scholar

49 Berlioz not only revised Neuf Mélodies in this year but also completed several other retrospective collections, ‘as though sensing the termination of his artistic career, or the beginning of the last chapter in the novel of his life,’ to quote D. Kern Holoman (Berlioz, 410).

50 The other songs of Les Nuits d’été were orchestrated in 1856 and published with the orchestral version of ‘Absence’ in the same year. A separate edition of the orchestrated Absence was issued in 1844. (See NBE13, xi–xiii.)

51 Holoman, Berlioz, 298Google Scholar

52 Holoman, Berlioz, 365Google Scholar

53 The other versions include a setting for male quartet and orchestra from 1834 (now lost) and one for female chorus and orchestra from 1851. The piano-vocal version of the song was reprinted in the 1849 edition of Neuf Mélodies, retitled Irlande.

54 Cairns, Servitude and Greatness, 278Google Scholar

55 Noske suggests that the poetic persona of ‘Les Champs’ might be Berlioz himself, ‘inviting Harriet to leave Paris to set up house in Montmartre’ (112–14) but does not consider whether the song's meaning changed when Berlioz recast it in 1850, and whether the second version alludes not to Harriet but to Marie.

56 The translation is by Cairns (see Berlioz, Mélodies).

57 Macdonald, Berlioz, 129Google Scholar

58 Cairns, Servitude and Greatness, 422Google Scholar

59 Frank Heidlberger has suggested to me that Berlioz may well have associated ‘Le Matin’ with his mother – despite the fact that the song describes the death of a father – because he returned to the house of his mother's father. Berlioz's mother died in 1838, but unlike with his father, he makes no mention of her death in his Memoirs.

60 Berlioz, Memoirs, ‘Travels in Germany – II’, 423.

61 Berlioz, Memoirs, chapter 58, 498–499Google Scholar

62 Cairns, Servitude and Greatness, 427Google Scholar

63 Berlioz, CGIV, 150Google Scholar

64 Berlioz, Selected Letters, ed. Hugh Macdonald, trans. Roger Nichols (London: Faber and Faber, 1995), 370–371Google Scholar

65 Berlioz, Memoirs, postscript, 519. See also CG4, 465, for similar sentiments.