An Analysis of Hector Berlioz's Les Nuits d'Ete
Amy Shuford
5 April 2011
Music History II Research Paper – Les Nuits d’Ete
Dr. Christina Reitz
An Analysis of Hector Berlioz’s Les Nuits d’Ete Born in 1803, in the village of La Côte-Saint-André, France, Hector Berlioz produced some of the most invigorating and exciting music of the Romantic period (Holoman, 1, 6). Romanticism primarily focused on subjectivism, therefore people were concentrating more on their emotions and spirituality and less on logical explanations for the problems of humanity. Those of the Romantic period valued nature and depended upon the creativity of artists in order to gain a deeper and different outlook on the world, one that was not strictly rational. Of all the Romantic art forms, music, especially instrumental, were highly favored because it promoted abstract thinking and allowed for listeners to open their imaginations to be exposed to intriguing emotions (Bonds, 365).
Berlioz’s career began in 1830 with his famous composition of Symphonie fantastique and composers such as Franz Liszt and Niccolò Paganini agreed that Berlioz was indeed the true successor to Beethoven (Holoman, 1). Berlioz desired to be remembered for his limitless love of art and for his faithfulness to compose music that unified him as a composer, conductor and a music critic (Holoman, 2). According to D. Kern Holoman in his book Berlioz, Berlioz was often found quietly weeping, after a concert of his work, over the beauty he had just heard, overwhelmed by music’s power over the spirit (Holoman, 8). Shuford 2
During the Romantic period, author, critic and fellow Frenchman, Théophile Gautier, was a great admirer of Berlioz’s music (Turner, 220). In November 1840, two songs composed by Berlioz, with settings from Gautier’s collection Poésies diverses entitled Absence and Le Spectre de la Rose were announced to be performed on concerts (Macdonald, 38). Months earlier, Berlioz had already composed another song, Villanelle, and by September 1841 six
5 April 2011
Music History II Research Paper – Les Nuits d’Ete
Dr. Christina Reitz
An Analysis of Hector Berlioz’s Les Nuits d’Ete Born in 1803, in the village of La Côte-Saint-André, France, Hector Berlioz produced some of the most invigorating and exciting music of the Romantic period (Holoman, 1, 6). Romanticism primarily focused on subjectivism, therefore people were concentrating more on their emotions and spirituality and less on logical explanations for the problems of humanity. Those of the Romantic period valued nature and depended upon the creativity of artists in order to gain a deeper and different outlook on the world, one that was not strictly rational. Of all the Romantic art forms, music, especially instrumental, were highly favored because it promoted abstract thinking and allowed for listeners to open their imaginations to be exposed to intriguing emotions (Bonds, 365).
Berlioz’s career began in 1830 with his famous composition of Symphonie fantastique and composers such as Franz Liszt and Niccolò Paganini agreed that Berlioz was indeed the true successor to Beethoven (Holoman, 1). Berlioz desired to be remembered for his limitless love of art and for his faithfulness to compose music that unified him as a composer, conductor and a music critic (Holoman, 2). According to D. Kern Holoman in his book Berlioz, Berlioz was often found quietly weeping, after a concert of his work, over the beauty he had just heard, overwhelmed by music’s power over the spirit (Holoman, 8). Shuford 2
During the Romantic period, author, critic and fellow Frenchman, Théophile Gautier, was a great admirer of Berlioz’s music (Turner, 220). In November 1840, two songs composed by Berlioz, with settings from Gautier’s collection Poésies diverses entitled Absence and Le Spectre de la Rose were announced to be performed on concerts (Macdonald, 38). Months earlier, Berlioz had already composed another song, Villanelle, and by September 1841 six