Berlioz's Self-Borrowings

Author:

Macdonald Hugh

Abstract

To have borrowed the music of one work for the composition of another is, understandably I think, not a confession that composers are fond of making. If they are afraid of the misunderstanding and sarcastic comment that it might arouse in the minds of the unthinking, it is our duty, it seems to me, to study and explain (where explanation is necessary) this pelican-like habit. Berlioz has suffered particularly in this respect for being a ‘programmatic’ composer, although, as I shall later try to show, the very existence of so much borrowed material demonstrates the fatuity of such a term as an attempt to isolate one particular type of composer.

Publisher

Cambridge University Press (CUP)

Reference27 articles.

1. Berlioz, Briefe an die Fūrstin Carolyne Sayn-Wittgenstein, ed. La Mara, Leipzig, 1903, pp. 30–31.

2. For example: Tiersot, ‘Etude sur La Damnation de Faust’, Le Guide Musical, xliv (1898), p. 943—xlv (1899), p. 176, and A. E. F. Dickinson, ‘The Revisions for the Damnation of Faust’, Monthly Musical Record, lxxxix (1959), pp. 180–5.

3. Mémoires, i. 55.

4. The best example is to be found in his letter of 12 August 1856, during the composition of Les Troyens:

5. Music Review, iv (1943), p. 228.

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