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The Radio 3 Boards > The Radio 3 Boards > Classical Music on Radio 3 > Berlioz
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Author Topic: Berlioz  (Read 879 times)
Tam Pollard
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« Reply #15 on: 23:56:12, 13-05-2007 »
As a postscript, I'm rather grateful he put Berlioz into Room 101 since it prompted me to dig out the LSO box and put on the first disc of Les Troyens. I enjoyed it very much, far more than the last time I listened, and somehow I don't think the box will be making it back to the shelf for a little while.
bws
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martle
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« Reply #16 on: 09:43:01, 14-05-2007 »
Quote from: Tony Watson on 23:21:55, 13-05-2007
Has anyone since? There's the opening to Mars from Holst's Planets.

...and it's become something of a cliche ever since. 'Col legno' is a very regular feature of string writing for most of the C20th, and beyond. But it can be extremely effective (as, for instance, in Bartok's string quartets).
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Peter Grimes
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« Reply #17 on: 12:58:17, 14-05-2007 »
Anyone with a serious interest in music should read Berlioz' Memoirs and his treatise on orchestration.

Bear in mind his Symphonie Fantastique was composed only three years after Beethoven's death.

Also bear in mind that upon looking at the the score of Wagner's Tristan und Isolde, Berlioz confessed that he didn't understand it.
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richard barrett
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« Reply #18 on: 15:49:25, 14-05-2007 »
Quote from: MabelJane on 23:14:16, 13-05-2007
I love Berlioz.
Had anyone before him instructed the violins to play with the backs of their bows? (Witches' Sabbath, Symphonie Fantastique).
Has anyone since?
As Martle points out, thousands of composers since Berlioz have used this technique. The first recorded use of it as far as I know was in Tobias Hume's collection of viol pieces Musicall Humours, published in 1605.
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ahinton
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« Reply #19 on: 16:36:58, 14-05-2007 »
Quote from: Milly Jones on 11:10:44, 13-05-2007
I've only been half-listening to Radio 3 this morning, but I just heard Jeremy...someone - didn't catch the surname - saying that he would put Berlioz in Room 101.  He said Berlioz came from nowhere, did nothing, was going nowhere and just really took up his time.
Je suis étonné...

Best,

Alistair
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eruanto
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« Reply #20 on: 17:31:14, 14-05-2007 »
Berlioz has imo the most original orchestration for his time (apart from maybe mendelssohn on a good day). loads of pieces you listen to and think "now how on earth did he get that combination into his head?"
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Tony Watson
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« Reply #21 on: 07:38:08, 21-05-2007 »
Quote from: richard barrett on 15:49:25, 14-05-2007
Quote from: MabelJane on 23:14:16, 13-05-2007
I love Berlioz.
Had anyone before him instructed the violins to play with the backs of their bows? (Witches' Sabbath, Symphonie Fantastique).
Has anyone since?
As Martle points out, thousands of composers since Berlioz have used this technique. The first recorded use of it as far as I know was in Tobias Hume's collection of viol pieces Musicall Humours, published in 1605.

At a concert last night I heard Biber's Battalia a 10 in D of 1673. Col legno was used in that to produce a warlike effect. In fact it was a curious piece all round, with a very discordant episode representing soldiers singing various songs at once, and paper inserted between the strings of the double bass to make it sound more like a drum.
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