[Footnotes]

[Footnotes]
1
A travers chants, ed. Léon Guichard (Paris, 1971), p. 26
Guichard
26
A travers chants
1971
"Feminist Theory and Music" conference at the Eastman School of Music, June 1993
Feminist Theory and Music
Conference at the Eastman School of Music
1993
2
"Voilá un effet musical!", Berlioz exclaims in a parallel passage later in A travers chants (p. 116)
Voilá un effet musical
116
Travers chants
3
A travers chants, p. 116, originally in Journal des Debats, 6 February 1853.
116
Travers chants
1853
4
Correspondance générale, vol. I, ed. Pierre Citron (Paris, 1972), p. 83 (18 Feb. 1825).
Citron
83
I
Correspondance générale
1972
5
The Memoirs of Hector Berlioz (hereafter Memoirs), trans. David Cairns (1969;rpt.New York, 1975), chap. 18, p. 96
Cairns
chap. 18
96
The Memoirs of Hector Berlioz
1975
6
M. H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition (London, 1953;rpt, 1977), pp. 71-72 and 14-26
Abrams
71
The Mirror and the Lamp: Romantic Theory and the Critical Tradition
1977
7
Peter Raby, Fair Ophelia: A Life of Harriet Smithson Berlioz (Cambridge, 1982), p. 60
Raby
60
Fair Ophelia: A Life of Harriet Smithson Berlioz
1982
8
Le Rénovateur, 16-17 August 1834
Le Rénovateur
1834
Fanny Elssler dancing Fenella in Auber's Muette de Portici in Revue et Gazette musicale, 1 October 1837, pp. 431-32
Elssler
1 October
Auber's Muette de Portici in Revue et Gazette musicale
1837
9
"Malgré Boileau, pour me tirer des pleurs, il ne faut pas pleurer" (letter to Humbert Ferrand [27 June 1863], Correspondance gendrale VI).
Boileau
pour me tirer des pleurs, il ne faut pas pleurer
VI
Correspondance gendrale
1863
10
Memoirs, chap. 18, p. 96
96
Edouard Rocher (11 Jan. 1829)
Correspondance I, 60 [July 1824]
60
I
Correspondance
1824
11
Sigmund Freud, The Ego and the Id, trans. Joan Riviere, rev. James Strachey (New York, 1960), pp. 21-24
Freud
21
The Ego and the Id
1960
J. Laplanche and J.-B. Pontalis, The Language of Psycho- Analysis, trans. Donald Nicholson-Smith (New York, 1973), pp. 335-36
Laplanche
335
The Language of Psycho Analysis
1973
Bloom's theory is in The Anxiety of Influence: A Theory of Poetry (New York, 1973)
Bloom
The Anxiety of Influence: A Theory of Poetry
1973
Laura Mulvey, "Visual Pleasure and Narrative Cinema," Screen 16 (1975), 6-18
Mulvey
6
16
Screen
1975
12
Alexandre Dumas, quoted by Cairns, intro. to Memoirs, p. 8.
Dumas
8
Intro. to Memoirs
13
Ibid., chap. 18, p. 95.
95
14
Berlioz's Memoirs, chap. 59, p. 464
Berlioz
chap. 59
464
Memoirs
14
Ibid., pp. 97-98 and 95.
97
16
Jacques Barzun, Berlioz and the Romantic Century (New York, 1969), I, 121.
Barzun
121
I
Berlioz and the Romantic Century
1969
17
Berlioz 1803-1832: The Making of an Artist [London, 1989], p. 321
321
Berlioz 1803-1832: The Making of an Artist
1989
18
Gazette musicale, 7 December 1834 (an unsigned article clearly written by Berlioz).
Berlioz
Gazette musicale
1834
19
Memoirs, chap. 5, p. 48.
48
20
Raby (Fair Ophelia, p. 177)
Raby
177
Fair Ophelia
La Presse, 3 Feb. 1840
La Presse
1840
21
Elaine Showalter, The Female Malady: Women, Mad- ness, and English Culture, 1830-1980 (New York, 1985), passim
Showalter
The Female Malady: Women, Madness, and English Culture, 1830-1980
1985
Bram Dijkstra, Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siecle Culture (New York, 1986), passim
Dijkstra
Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siecle Culture
1986
Susan McClary, Feminine Endings: Music, Gen- der, and Sexuality (Minneapolis, 1991), chap. 4: "Excess and Frame: The Musical Representation of Madwomen," pp. 80-111
McClary
chap. 4
80
Feminine Endings: Music, Gender, and Sexuality
1991
Ellen Rosand, "Operatic Madness: A Chal- lenge to Convention," in Music and Text: Critical Inquir- ies, ed. Steven Paul Scher (Cambridge, 1992), pp. 241-87
Rosand
Operatic Madness: A Challenge to Convention
241
Music and Text: Critical Inquiries
1992
Carolyn G. Heilbrun, "Method in Madness," Opera News, 22 January 1994, 18-19, 45
Heilbrun
22 January
18
Opera News
1994
22
Journal des Débats, 9 August 1939
9 August
Journal des Débats
1939
Gerard Condé, Hector Berlioz: Cauchemars et passions (Paris, 1981), pp. 281-83 (quote from p. 282)
Condé
281
Hector Berlioz: Cauchemars et passions
1981
McClary writes on Lucia in Feminine Endings, pp. 90-99
McClary
90
Lucia in Feminine Endings
Walter Scott (pp. 91-92)
23
Memoirs, chap. 17, p. 93
93
24
Berlioz's article of 7 December 1834 (see n. 18)
25
Raby, Fair Ophelia, chap. 11, "Romantic Image," pp. 176-93
Raby
chap. 11
176
Fair Ophelia
Bram Dijkstra, Idols of Perversity, pp. 42-51
Dijkstra
42
Idols of Perversity
Edwin Mullins, The Painted Witch: Female Body/Male Art (London, 1985), pp. 142-43
Mullins
142
The Painted Witch: Female Body/Male Art
1985
George Sand's popular novel Indiana (1831)
Sand
Indiana
1831
27
"Nature immense, impénétrable et fibre" of Faust's Invocation to Nature in The Damnation of Faust
Nature immense, impénétrable et fibre
The Damnation of Faust
28
Memoirs, chap. 3, p. 36
30
Memoirs, chap. 5, p. 48
48
Le Correspondant, 6 Oct. 1829
Le Correspondant
1829
Beethoven's op. 131
131
31
Edouard Rocher [June 1824]
Correspondance gendrale I, 57
57
32
Correspondance géédrale, I, 56
56
Correspondance générale V, 502 and 551
502
V
Correspondance gen'rale
Berlioz's Symphonie fantastique in December 1830
33
Memoirs, Estelle is described as having eyes "ready- primed for the attack" (des yeux armes en guerre) and hair worthy of Achilles's helmet (p. 37)
Estelle
37
Ready-primed for the attack
34
Raby, Fair Ophelia, pp. 111-14
Raby
111
Fair Ophelia
A Lesser Life: The Myth of Women's Liberation in America [New York, 1986], p. 233
233
A Lesser Life: The Myth of Women's Liberation in America
1986
35
Correspondance gendrale I, 320 [16 April 1830]
320
I
Correspondance gendrale
1830
"The revenge is not too ex- treme-though it's not in that spirit that I wrote the Songe d'une nuit du sabbat. I don't want revenge. I pity and despise her" (p. 328)
328
The revenge is not too extreme-though it's not in that spirit that I wrote the Songe d'une nuit du sabbat. I don't want revenge. I pity and despise her
36
letter to Ferrand [13 May 1830], Correspondance gendrale I, 328
37
"The beloved melody . . is no more than a common, vulgar, grotesque dance tune" (Berlioz Fantastic Symphony, ed. Edward T. Cone [New York, 1971], pp. 24-25 [my trans.]
Cone
The beloved melody . . is no more than a common, vulgar, grotesque dance tune
24
Berlioz Fantastic Symphony
1971
38
letter to Edouard Rocher [5 June 1830], Correspondance gendrale I, 332
332
I
Letter to Edouard Rocher
1830
39
Cairns, Berlioz, p. 349 (and chap. 24 in general)
Cairns
chap. 24
349
Berlioz
40
Letter to Nanci Berlioz (30 June 1830), Correspondance generale I, 339.
339
I
Correspondance generale
41
ibid
42
Letter to his mother (16 July 1830)
ibid., I, 341.
43
Letter to his family (21 April 1831), ibid., I, 431.
44
Letters to Ferdinand Hiller (23 and 31 Jan. 1831), ibid., I, 407 and 409
Cairns's discussion in Berlioz, pp. 400-01
Cairns
400
Berlioz
45
Ralph Locke suggests, on the basis of a letter by the Saint-Simonian "Father" Enfantin of 26 October 1830
Locke
Father
1830
"Liszt's Saint-Simonian Adven- ture," this journal 4 [1981], 215, n. 14
Liszt
14
215
4
Nineteenth Century Music
1981
46
Correspondance générale II, 119 (6 Oct. 1833).
119
II
Correspondance générale
1833
48
Alan Walker, Franz Liszt, vol. I (New York, 1983), pp. 232-43, esp. 235-36
Walker
232
I
Franz Liszt
1983
Edouard Monnais in the Revue et Gazette musicale (29 May 1836)
Monnais
29 May
The Revue et Gazette musicale
1836
H. Robert Cohen, "The Musical World of Dantan Jeune: Subtle Distortions and Giants Reduced," in Music in Paris in the Eighteen-Thir- ties, ed. Peter Bloom [Stuyvesant, N.Y., 1987], pp. 145-46
Cohen
The Musical World of Dantan Jeune: Subtle Distortions and Giants Reduced
145
Music in Paris in the Eighteen-Thirties
1987
Robert Wangermee, "Con- science et inconscience du virtuose romantique: A propos des annees parisiennes de Franz Liszt," pp. 553-73, esp. 567-68
Wangermee
553
Conscience et inconscience du virtuose romantique: A propos des annees parisiennes de Franz Liszt
49
"Nouvel Œdipe, Liszt l'a expliquée, de maniére á ce que l'auteur, s'il a pu l'entendre, a dú frémir de joie et d'orgueil dans sa tombe" (Revue et Gazette musicale, 12 June 1836
Œdipe
12 June
Revue et Gazette musicale
1836
Condé, Hector Berlioz, pp. 129-33
50
Condé, Hector Berlioz, p. 133
Conde
133
Hector Berlioz
51
chapter on Beethoven's chamber music, A travers chants, pp. 83-85, originally in Journal des Debats, 12 March 1837
Chamber
12 March
Journal des Debats
1837
52
Condé, Hector Berlioz, p. 131
Condé
131
Hector Berlioz
54
Condé, Hector Berlioz, p. 132
Condé
132
Hector Berlioz
A travers chants, pp. 21-22
21
55
Marmontel's book, Les Pianistes célébres (Paris, 1878
Marmontel
Les Pianistes célébres
1878
Marie Pleyel is presented as the embodiment of "charme, bienveillancé, sensibilités (p. 71)
Pleyel
71
Charme, bienveillancé, sensibilités
56
Les Soirées de l'orchestre [1852], ed. Léon Guichard (Paris, 1968), pp. 332-77
Guichard
332
Les Soirées de l'orchestre
1852
58
Alan Walker, Franz Liszt, I, 389. Already in 1835
Walker
389
I
Franz Liszt
1835
Chopin's apartment for a meeting with Marie Pleyel (p. 185)
Chopin
185
Chopin's apartment for a meeting with Marie Pleyel
60
Walker, Franz Liszt, p. 188
Walker
188
Franz Liszt
61
Memoirs, pp. 285-86.
285
62
A travers chants , review of a book by Joseph d'Ortigue on religious music, pp. 273-78, from Journal des Debats, 7 January 1862
7 January
273
Journal des Debats
1862
Richard Leppert, The Sight of Sound: Music, Representation, and the His- tory of the Body (Berkeley and Los Angeles, 1993)
Leppert
The Sight of Sound: Music, Representation, and the History of the Body
1993
63
Memoirs, chap. 59, p. 465.
This content is only available via PDF.

Article PDF first page preview

Article PDF first page preview