Word: berlioz
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Dates: during 1970-1979
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Boston Symphony Orchestra, the magnificent, will perform Berlioz's "Romeo and Juliette" on Fri., March 24 at 2 p.m. and Sat., March 25 at 8:30 p.m., both in Symphony Hall...
...Webern, in a handsome treatise that is informed and comfortably free of jargon. This is primarily history, not a quick alphabetical reference aid (readers wanting that should try the Oxford Companion to Music). The knowing may regret the cursory treatment of American music and wonder, say, why Stravinsky and Berlioz are given chapter headings, but not Mozart or Debussy...
Variations and Vibrations. A desperate French commission that included Composers Jacques Halevy, Hector Berlioz and Giacomo Meyerbeer tried to sort things out in 1858 by decreeing that 435 should be the future standard. It did not work. Soon there was French pitch, English pitch, English church pitch, military pitch and virtually as many varia- tions in between as there were vibrations to choose from. In 1939 the British Standard Institution settled on 440 cycles for the A, but this supposedly international standard is widely ignored...
Arturo Toscanini: Overtures (Seraphim). Between 1937 and 1939, Toscanini and the BBC Symphony Orchestra created a series of recordings that were like valentines to each other. Here are five of them: Brahms' Tragic Overture, Beethoven's Leonore Overture No. 1, the Weber-Berlioz Invitation to the Dance and, for the first time on American LP, Mozart's Magic Flute Overture and Rossini's La Scala di Seta Overture. As usual, the maestro's familiar musical gusto is the controlling factor, augmented by the expressive freedom he accorded the BBC first-desk men in their solo...
...recounts with hostility how she worked for a whole year on a ballet by a young colleague set to Berlioz's Romeo et Juliette-only to have it turned down by the officials because it was "too openly erotic." Another ballet based on a picture by Picasso was also vetoed. Makarova quarreled with the grande doyenne of the Kirov Ballet, Madame Natalia Dudin-skaya, because she "preferred to try and impose her own rather stereotyped interpretation of each part." In spite of these disputes, she concedes: "I was at the top. I had danced all the leading roles...