Hector Berlioz: Diferenzas entre revisións
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Vernet aceptou a solicitude de Berlioz de que se lle permitira saír da Villa Medici antes de finalizar a súa estadía de dous anos. Seguindo o consello de Vernet de que sería prudente atrasar o seu retorno a París, onde as autoridades do Conservatorio podían ser menos indulxentes en relación coa prematura finalización dos seus estudos, fixo unha relaxada viaxe de regreso, desviándose por La Côte-Saint-André para ver á súa familia. Deixou Roma en maio de [[1832]] e chegou a París en novembro.{{Harvnp|Barzun|1956|p=125}}{{Harvnp|Evans|1957|p=28}}
===1832–1840: París===
{{en tradución}}
On 9 December 1832 Berlioz presented a concert of his works at the Conservatoire. The programme included the overture of ''Les Francs-juges'', the ''Symphonie fantastique'' – extensively revised since its premiere – and ''Le Retour à la vie'', in which [[Bocage]], a popular actor, declaimed the monologues.<ref name=e28/> Through a third party, Berlioz had sent an invitation to Harriet Smithson, who accepted, and was dazzled by the celebrities in the audience.<ref name=c557/> Among the musicians present were Liszt, [[Frédéric Chopin]] and [[Niccolò Paganini]]; writers included [[Alexandre Dumas]], [[Théophile Gautier]], [[Heinrich Heine]], [[Victor Hugo]] and [[George Sand]].<ref name=c557>Cairns (2000), p. 557</ref> The concert was such a success that the programme was repeated within the month, but the more immediate consequence was that Berlioz and Smithson finally met.<ref name=e28>Evans, pp. 28–29</ref>
By 1832 Smithson's career was in decline. She presented a ruinously unsuccessful season, first at the Théâtre-Italien and then at lesser venues, and by March 1833 she was deep in debt. Biographers differ about whether and to what extent Smithson's receptiveness to Berlioz's wooing was motivated by financial considerations;{{refn|Barzun and Evans consider the possibility that Smithson's financial straits may have made her more amenable to Berlioz's approaches; Cairns and Holoman express no opinion on the matter.<ref>Barzun, p. 133; p. 2; Cairns (1999); Evans, p. 29; and Holoman (1989), p. 136</ref>|group= n}} but she accepted him, and in the face of strong opposition from both their families they were married at the British Embassy in Paris on 3 October 1833.<ref name=harriet/> The couple lived first in Paris, and later in [[Montmartre]] (then still a village). On 14 August 1834 their only child, Louis-Clément-Thomas, was born.<ref name=bxvi/> The first few years of the marriage were happy, although it eventually foundered. Harriet continued to yearn for a career but, as her biographer Peter Raby comments, she never learned to speak French fluently, which seriously limited both her professional and her social life.<ref name=harriet>Raby, Peter. [http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-25943 "Smithson (married name Berlioz), Harriet Constance (1800–1854), actress"] {{Webarchive|url=https://web.archive.org/web/20181011133650/http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-25943 |date=11 October 2018 }}, ''Oxford Dictionary of National Biography'', Oxford University Press, 2008. Retrieved 19 October 2018. {{ODNBsub}}</ref>
[[File:Paganini-ingres.jpg|thumb|upright|alt=drawing of youngish white man in formal evening costume, carrying a violin|Paganini, by [[Jean Auguste Dominique Ingres|Ingres]]]]Paganini, known chiefly as a violinist, had acquired a [[Stradivarius]] [[viola]], which he wanted to play in public if he could find the right music. Greatly impressed by the ''Symphonie fantastique'', he asked Berlioz to write him a suitable piece.<ref>Berlioz, p. 224</ref> Berlioz told him that he could not write a brilliantly virtuoso work, and began composing what he called a symphony with viola [[obbligato]], ''Harold in Italy''. As he foresaw, Paganini found the solo part too reticent – "There's not enough for me to do here; I should be playing all the time"<ref name=b225/> – and the violist at the premiere in November 1834 was [[Chrétien Urhan]].<ref>Holoman (1989), p. 161</ref>
Until the end of 1835 Berlioz had a modest stipend as a laureate of the Prix de Rome.<ref name=bxvi/> His earnings from composing were neither substantial nor regular, and he supplemented them by writing music criticism for the Parisian press. Macdonald comments that this was activity "at which he excelled but which he abhorred".<ref name=grove/> He wrote for ''L'Europe littéraire'' (1833), ''Le Rénovateur'' (1833–1835), and from 1834 for the ''Gazette musicale'' and the ''Journal des débats''.<ref name=grove/> He was the first, but not the last, prominent French composer to double as a reviewer: among his successors were [[Gabriel Fauré|Fauré]], [[André Messager|Messager]], [[Paul Dukas|Dukas]] and [[Claude Debussy|Debussy]].<ref>[[Jean-Michel Nectoux|Nectoux, Jean-Michel]]. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/09366 "Fauré, Gabriel (Urbain)"]; Wagstaff, John, and [[Andrew Lamb (writer)|Andrew Lamb]]. [http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000018492 "Messager, André"] {{Webarchive|url=https://web.archive.org/web/20181011133544/http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000018492 |date=11 October 2018 }}; Schwartz, Manuela and G. W. Hopkins. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/08282 "Dukas, Paul"]; and [[François Lesure|Lesure, François]], and [[Roy Howat]]. [http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000007353 "Debussy, (Achille-)Claude"] {{Webarchive|url=https://web.archive.org/web/20180515112133/http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000007353 |date=15 May 2018 }}, ''Grove Music Online'', Oxford University Press, 2001. Retrieved 19 October 2018. {{subscription}}</ref> Although he complained – both privately and sometimes in his articles – that his time would be better spent writing music than in writing music criticism, he was able to indulge himself in attacking his bêtes noires and extolling his enthusiasms. The former included musical pedants, [[coloratura]] writing and singing, viola players who were merely incompetent violinists, inane libretti, and baroque [[counterpoint]].<ref>Wright Roberts (I), pp. 65, 69 and 71</ref> He extravagantly praised Beethoven's symphonies, and Gluck's and [[Carl Maria von Weber|Weber]]'s operas, and scrupulously refrained from promoting his own compositions.<ref>Wright Roberts (II), pp. 138 and 140</ref> His journalism consisted mainly of music criticism, some of which he collected and published, such as ''Evenings in the Orchestra'' (1854), but also more technical articles, such as those that formed the basis of his ''[[Treatise on Instrumentation]]'' (1844).<ref name=grove/> Despite his complaints, Berlioz continued writing music criticism for most of his life, long after he had any financial need to do so.<ref>Murphy, p. 111</ref>{{refn|One reason why his duties as a reviewer took up so much of Berlioz's time was that he approached them with unusual conscientiousness, studying scores in great detail in advance of their performance, and attending rehearsals whenever possible.<ref>Bent, p. 41</ref>|group= n}}
Berlioz secured a commission from the French government for his [[Requiem (Berlioz)|Requiem]] – the ''Grande messe des morts'' – first performed at [[Les Invalides]] in December 1837. A second government commission followed – the ''[[Grande symphonie funèbre et triomphale]]'' in 1840. Neither work brought him much money or artistic fame at the time,<ref name=grove/> but the Requiem held a special place in his affections: "If I were threatened with the destruction of the whole of my works save one, I would crave mercy for the ''Messe des morts''".<ref>Bernard, p. 309</ref>
[[File:Benvenuto-Cellini-poster-1838.jpg|thumb|left|alt=advertising poster giving title, date and venue of operatic premiere|Poster for the premiere of ''[[Benvenuto Cellini (opera)|Benvenuto Cellini]]'', September 1838. Berlioz's name is not mentioned.]]
One of Berlioz's main aims in the 1830s was "battering down the doors of the Opéra".<ref name=opera>Holoman, D. Kern [https://doi.org/10.1093/gmo/9781561592630.article.O006199 "Berlioz, (Louis-)Hector (opera)"], ''Grove Music Online'', Oxford University Press, 1992. Retrieved 18 October 2018. {{subscription}}</ref> In Paris at this period, the musical success that mattered was in the opera house and not the concert hall.<ref name=e31>Evans, p. 31</ref> [[Robert Schumann]] commented, "To the French, music by itself means nothing".<ref>Cairns (1966), p. 211</ref> Berlioz worked on his opera ''Benvenuto Cellini'' from 1834 until 1837, continually distracted by his increasing activities as a critic and as a promoter of his own symphonic concerts.<ref name=opera/> The Berlioz scholar [[D. Kern Holoman]] comments that Berlioz rightly regarded ''Benvenuto Cellini'' as a work of exceptional exuberance and verve, deserving a better reception than it received. Holoman adds that the piece was of "surpassing technical difficulty", and that the singers were not especially co-operative.<ref name=opera/> A weak libretto and unsatisfactory staging exacerbated the poor reception.<ref name=e31/> The opera had only four complete performances, three in September 1838 and one in January 1839. Berlioz said that the failure of the piece meant that the doors of the Opéra were closed to him for the rest of his career – which they were, except for a commission to arrange a Weber score in 1841.<ref>Macdonald (1969), p. 44</ref><ref name=bxviii/>
Shortly after the failure of the opera, Berlioz had a great success as composer-conductor of a concert at which ''Harold in Italy'' was given again. This time Paganini was present in the audience; he came on to the platform at the end and knelt in homage to Berlioz and kissed his hand.<ref>Cairns (1999), pp. 172–173</ref>{{refn|Despite his admiration, Paganini never played the solo part in ''Harold in Italy'', having by this time retired from public performance because of ill health.<ref>Cairns (1999), p. 174; and Neill, Edward. [http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040008 "Paganini, Nicolò"] {{Webarchive|url=https://web.archive.org/web/20181112223620/http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040008 |date=12 November 2018 }}, ''Grove Music Online'', Oxford University Press, 2001. Retrieved 19 October 2018. {{subscription}}</ref>|group= n}} A few days later Berlioz was astonished to receive a cheque from him for 20,000 francs.<ref>Holoman (1989), p. 197</ref>{{refn|According to one currency comparison site, an estimated modern equivalent of the sum is about €170,000.<ref>[http://www.historicalstatistics.org/Currencyconverter.html "Historical currency converter"] {{Webarchive|url=https://web.archive.org/web/20180404185417/http://www.historicalstatistics.org/Currencyconverter.html |date=4 April 2018 }}, Historical Statistics. Retrieved 6 October 2018</ref>|group= n}} Paganini's gift enabled Berlioz to pay off Harriet's and his own debts, give up music criticism for the time being, and concentrate on composition. He wrote the "dramatic symphony" ''Roméo et Juliette'' for voices, chorus and orchestra. It was premiered in November 1839 and was so well received that Berlioz and his huge instrumental and vocal forces gave two further performances in rapid succession.<ref name=e32>Evans, p. 32</ref>{{refn|Berlioz assembled an orchestra of 160 players, three soloists and a chorus of 98 singers for the vocal sections.<ref name=e32/>|group= n}} Among the audiences was the young [[Richard Wagner|Wagner]], who was overwhelmed by its revelation of the possibilities of musical poetry,<ref>Cairns (1999), p. 205</ref> and who later drew on it when composing ''[[Tristan und Isolde]]''.<ref>Barzun, p. 188</ref>
At the close of the decade Berlioz achieved official recognition in the form of appointment as deputy librarian of the Conservatoire and as an officer of the [[Legion of Honour]].<ref name=bvii>Bloom (2000), p. xvii</ref> The former was an undemanding post, but not highly paid, and Berlioz remained in need of a reliable income to allow him the leisure for composition.<ref>Cairns (1999), p. 177</ref>
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