are extensive notes and commentaries for each opera, in some cases in separate
volumes. See also next entry.Thematic Catalogues and Worklists
546.Catalogue of Works of Hector Berlioz.Ed. D. Kern Holoman. V.25 of the New
Edition(#545).Bibliographies and Guides to Resources
- Langford, Jeffrey, and Jane Denker Graves. Hector Berlioz: A Guide to Re-
search. Garland Composer Resource Manuals, 22. New York: Garland, 1989.
xxi, 307p. ISBN 0-8240-4635-8. ML134 .B5 L3.
A valuable survey of the Berlioz literature: 1,011 annotated entries. Also a
worklist (keyed to the New Editionand to the earlier issue of complete works),
author index, and expansive index of names and subjects. - Holoman, D. Kern. “The Present State of Berlioz Research.” AM47-1 (1975):
31–67.
A lucid, learned summary of biographical and analytical studies, along with
the important primary source materials. For a later review of the Berlioz litera-
ture by Holoman, see #555. - Hopkinson, Cecil. A Bibliography of the Musical and Literary Works of Hec-
tor Berlioz. 2nd ed. Tunbridge Wells, England: R. Macnutt, 1980. xix, 230p.
ISBN 0-907180-00. ML134 .B5 H79.
Not a true second edition but a facsimile reprint of the 1951 first edition, with
additions and corrections. Keyed to the New Edition(#545). Gives all known
manuscripts and editions in all countries, with detailed descriptions and loca-
tions; 22 plates, index.
Periodicals
550.Berlioz Society Bulletin,1–, 1952–. London: Berlioz Society, 1952–. Quarterly.
ML410 .B5 B547.
A useful source for notices and reviews, as well as a number of essays on the
operas.Letters and Documents
- Berlioz, Hector. The Memoirs of Hector Berlioz.. .Corrected ed. Trans. and
ed. David Cairns. New York: Norton, 1975. ISBN 0-393-00698-0. ML410
.B5 A42.
Aside from certain emendations, this is the same text as the first edition (Lon-
don: Gollancz, 1969). It is a fine rendering of the composer’s delightful and
illuminating recollections, with full scholarly apparatus. The period covered is
21 March 1848 to 1 January 1865, during which he wrote Les troyensand
Béatrice et Bénédictand experienced at least one trauma (a chapter begins:
“Calamity—I become a critic”). Cairns holds that, despite the humor and
122 Opera