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Berlioz on MusicSelected Criticism 1824-1837$
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Katherine Kolb

Print publication date: 2015

Print ISBN-13: 9780199391950

Published to Oxford Scholarship Online: March 2015

DOI: 10.1093/acprof:oso/9780199391950.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 25 October 2021

Concert by Franz Liszt

Concert by Franz Liszt

Hôtel de Ville (Salle Saint-Jean)

(p.161) 28 Concert by Franz Liszt
Berlioz on Music

Katherine Kolb

Oxford University Press

Berlioz has a special stake in the concert reviewed here, which features a work by his friend Liszt based on two themes from his own Lélio. In discussing Liszt’s first major orchestral composition, Berlioz speaks of the problems of bringing to life ambitious new works dependent on numerous performers, though Liszt has the advantage of being able to perform the all-important solo part of his own work. Berlioz praises the work’s “poetic” approach to the theme-and-variations form, one he generally dislikes as an exercise in formal ingenuity. Conversely, he disingenuously defends the second movement of Hiller’s symphony, devoid of dramatic interest, by analogy with the sculptor Cellini, whose great Perseus sculpture should not make us despise his decorative works. At the end he gently criticizes the inadequately rendered crescendo and decrescendo in the “Pilgrims’ March” from his own Harold in Italy, also part of this long, mixed program.

Keywords:   Liszt as composer, Liszt composition on Lélio, Berlioz Lélio, theme-and-variations form, Hiller, Mayseder, Clapisson, Girard, Lambert, Massart, Urhan

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