- Macdonald, Hugh. Berlioz. Master Musicians. London: Dent, 1982. 261p.
ISBN 0-460-03156-2. ML410 .B5 M13.
A useful brief biography, presenting the results of latest scholarship. Macdon-
ald is directing the issue of the complete works (#545). Bibliography, index.
See also #172.
Operas in General
- Rushton, Julian. The Musical Language of Berlioz. New York: Cambridge
U.P., 1983. xi, 303p. ISBN 0-521-24279-7. ML410 .B5 R87.
A valuable analytic approach to the operas and other works, dealing specifi-
cally with each technical aspect: pitch, counterpoint, rhythm, melody, form,
and instrumentation, taking Schenker principles as a ground. Lengthy analyses
of sections from Lélio, Benvenuto Cellini,and La damnation de Faust. - Dickinson, A. E. F. “Berlioz’ Stage Works.” MR31 (1970): 136–157.
A general survey of the operas, including those left incomplete and those only
planned. - Gräbner, Eric Hans. “Berlioz and the French Operatic Tradition.” Ph.D. diss.,
York U. (England), 1967. 250p. - Langford, Jeffrey Alan. “The Operas of Hector Berlioz: Their Relationship to
the French Operatic Tradition of the Early Nineteenth Century.” Ph.D. diss.,
U. of Pennsylvania, 1978. 459p.
Individual Works
Béatrice et Bénédict
New Edition(#545), v.3.
- Rushton, Julian. “Berlioz’s Swan-Song: Towards a Criticism of Béatrice et
Bénédict.” PRMA109 (1982–1983): 105–118.
The adaptation from Much Ado about Nothingis discussed; it was “drastic,
leaving very little of the original play.” Also a light technical survey of the
work.
Benvenuto Cellini
ASO142 (1991), New Edition(#545), v.1.
- Piatier, François. Hector Berlioz “Benvenuto Cellini”: Ou, le myth de l’artiste.
Paris: Aubier Montaigne, 1979. 137, [38]p. ISBN 2-700-70160-7. ML410 .B5
P44.
Draws parallels between Berlioz and Cellini, then compares various versions
of the opera. Analysis, along with reception history. Complete libretto, one-
page bibliography, no index.
124 Opera