Scan 93
The American history and encyclopedia of music, 1908
17 lines. Read by computer on 7 September 2026. Printed page 70. See the scan on archive.org.
1Berlioz
2Honor. In 1852 he received appointment to the post of Librarian of the Conservatory, a post that he occupied till his death. At the end, which occurred in Paris, March 9, 1867, he asked to be carried back to Paris to die. He was laid to rest with stately pomp and ceremony. A decade later, a Berlioz commemorative concert was given, with the Hippodrome filled to the roof. Bust and statue the awakened French people have put in place in honor of Berlioz. In 1903 the centenary of Berlioz's birth was duly celebrated in Paris, the "proud, disdainful city" whose meed he so bitterly craved.
4The following are the most important of Berlioz's compositions: The Requiem, composed in memory of the fall of General Damrémont and the French loss in Algiers; the Te Deum; the dramatic legend, La Damnation de Faust; the trilogie, L'Enfance du Christ; the opera Benvenuto Cellini; the comic opera Béatrice et Bénédict; the grand opera Les Troyens; and his orchestral compositions, the chief of which are the overture Le Carnaval Romain, and the symphonies Harold en Italie and Roméo et Juliette. It is as master of the orchestra that Berlioz holds unquestioned rank, taking place beside Beethoven, Wagner and Dvořák. The dramatic vividness of his music may at times startle, but it must be understood that Berlioz perceived a not altogether fanciful connection between emotion and musical expression. Today he stands as one of the great masters in the field of descriptive music and also program music. Hadow, writing in Grove, says "Berlioz knew the capacities of the different instruments better than the virtuosi who played them. His work . . . marks a new era in Instrumentation, and has been directly or indirectly the guide of every composer since his day." Berlioz's criticisms of the musicians of his day were unequaled, but it should be noted that he was the first musician in Europe who truly appreciated Beethoven. His criticisms, like his compositions, are, first of all, original, fearless opinions fearlessly expressed, and the expression, marked by charm and force, makes his writings on music of unusual literary value. The list of his literary and critical works is as follows: Voyage Musical, études sur Beethoven, Gluck et Weber; Les Soirées de l'Orchestre; Les Grotesques de la Musique; A Travers Chants; Mémoires de Berlioz; Correspondance inédite; Lettres Intimes, and Les Musiciens et la Musique. In spite of whatever is bizarre and erratic, in Berlioz's work, no one can deny to him great imaginative faculty. An artist of rare creative power, Berlioz is compared to that other most original Frenchman, Victor Hugo.
6Bertini
7Soirées de l'Orchestre; Les Grotesques de la Musique; A Travers Chants; Mémoires de Berlioz; Correspondance inédite; Lettres Intimes, and Les Musiciens et la Musique. In spite of whatever is bizarre and erratic, in Berlioz's work, no one can deny to him great imaginative faculty. An artist of rare creative power, Berlioz is compared to that other most original Frenchman, Victor Hugo.
9Bernard (běr-năr), Émile. 1845-1902.
10Distinguished French organist and composer of the new school. He was born at Marseilles and studied under Reber, Benoist, and Marmontel at the Paris Conservatory, where he won prizes for organ, piano and counterpoint, and was considered a remarkable pupil. In 1877 an organ fantasia and fugue written by Bernard, gained the prize offered by the Société des Compositeurs de Paris. Until 1895, he held the position of organist at Notre-Dame-des-Champs, Paris. His compositions include two cantatas, Guillaume le Conquérant and La Captivité de Babylone; a sonata for piano and violin; sonata for piano and violoncello; trio for piano; quartet for piano; two orchestra suites; a violin concerto; and many works for the organ.
12Bertin (běr-tăn), Louise Angelique. 1805-1877.
13French composer, pianist and contralto singer, also an artist and poet. Studied composition with Fétis and was so impatient for results, that she began composing at once. This impatience was, perhaps, the cause of the defects in her work, for in spite of her great talent, she was not willing to give the time and work necessary to a thorough foundation. Her compositions were however successful in the main. She wrote the operas Guy Mannering, Le Loup Garou, Faust, Notre Dame de Paris, and Esmeralda; also string quartets and trios; choral pieces and songs. Although Victor Hugo himself arranged the libretto of Notre Dame de Paris, it was unsuccessful.
15Bertini (běr-tē'-nē), Henri. 1796-1876.
16Brilliant pianist and talented composer, who belonged to a very musical Italian family, his father and older brother being also musicians. Born in London, he studied first under his
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