Corrections and Additions to Catalogue of the Works of Hector Berlioz

D. Kern Holoman
 

I am grateful to Julian Rushton and to Hugh Macdonald for their suggestions, most of which are incorporated here.
 
No. Page Revision
X Line beginning "Beale" should read 51B, 80C (not 51A, 80D; same correction to French text, p. XX, and German, p. XXXI.
XLII US-CAfenderson is now at US-NYpm.
XLIV CG V includes letters 1905-2395, published 1989.
8 15 Published as 25 Romances for Voices and Guitar, ed. M. Henke and M. Stegemann (Heidelberg: Chanterelle-Verlag, 1986).
20B 27 The Grenoble ms. has only 414 measures, not the 421 of the copy made in Rome. This is NBE vol. 12a (ed. Julian Rushton [1991]).
21A 30 NBE vol. 12a (ed. Julian Rushton [1991]). Alter performing force to read "Choeur (Femmes et enfants ..."
21B 33 Add to performances: 10 March 1969 (Paris: Salle Pleyel), the centenary of the composer's death.
23D 42 A second manuscript score has been found: F-Pn Vma ms 1227, copyist MS (ex coll. F. Raugel), 58 pp.
24 45 Alter in note: The subject set in 1827 survives in box 5e 17 at the Institute.
26 51 Alter in letters: 30-X-29 (to Ferrand, CG 138).
38 72 Alter in last line of Text: Moore's Sacred Songs (First Number) (Dublin, 1816).
40B 74 Incipit: delete metronome mark
42D 79 Incipit voice line should be identified "Sopr."
47 87 Tempo indication lacks from incipit: "Adagio. Disperato e appassionato assai. ([quarter note]=54)."
48 92 Add to performances: 14-III-61 (Amsterdam); alter early 1862 to 23-II-62 (Vienna).
94 Add [28-XI]-36 (to the Duc d'Orléans, MS): he hopes the duke will corne to hear the symphony.
51 99 An autograph score was listed in an 1845 sale catalogue (R & GM, p. 906).
51bis 101 Add to Music and Text: Berlioz's source was doubtless Rouget's Cinquante Chants français (Paris, 1825), 105-09.
52 103 Alter self-borrowing: Bars 230-45, ... bars 271-86 of the ...
53 107 Add to note: published by the Liszt Society in 1987.
60A 121 US-NYkallir source now GB-TWmacnutt.
65A 132 Add to autograph scores: Musée Calvet, Avignon: Chanson du pays (de Brizeux auteur de Marie). Fragment, showing a vocal une only, with wordsof the seventh stanza: "mais quelle est à travers la branche."
68 141 Alter in performances for 16-III-62: 16-II-62 (Vienna: Hellmesberger).
142 Add [28-XI]-1836 (to the Duc d'Orléans, MS): Harold has changed considerably since the duke heard it two years before.
69A 145 Add to note: It was announced in the Gazette musicale, 19-X-34, as "un trio pour trois voix et orchestre sur des paroles de Victor Hugo."
71B 150 Alter for printed full score: Advertised in FM, 4-XI-49 (not 26-XI-43).
72 151 Add to CG 440: it will need 700 performers.
74 154 Add 28-VIII-40 (Versailles, Vernet to Berlioz): thanking B. for the dedication of Le Cinq Mai.
[74bis 155] An original albumleaf of 8 bars, signed and dated "Paris, 4 Novembre 1836," is found in an album at the Royal Library, Copenhagen, DK-Kk.
76 176 Alter performing force to read "Pompéo (Bar.), Un Cabaretier (Tén.)" Additional ms. sources include: F-CSA: full score of Weimar version, 161, 316, 263 pp., Rocquement copy (gift of Joséphine Chapot, 1903). AlsoF-Preboul: 43 ms. chorus parts of Weimar version: 15 Sopr. et Cto., 14 Tén., 14 Basses. Also F-Pan F18 669: ms. libretto.
180 Add to excerpts: 2-V-1839 (Paris: Athénée Musicale; Air de Cellini, Dupont). 25~I~46* (Prague; Cavatine).
181 Add [28-XI]-36 (to the Duc d'Orléans, MS): seeking the duke's encouragement.
79 202 Add to excerpts: 15-XI-53* (Hannover; three excerpts). 23-XI-61 (Paris: Opéra; Féte).
208 5-X-[57] should be dated 5-X-[56] (to Rieter-Biedermann, CG 2177).
209 Add 14-VJ-59 (to Rieter-Biedermann, CG 2379): successful perf. Bordeaux.
80B 215 Add 5-XII-42 (to Thalberg, MS): Richault wants to publish the Symphonie funèbre et triomphale with an arrangement by T. of the Apothéose.
80C 216 Add Paris edn. ofthe printed score: Paris: Perrotin, 1851. No pl. no. No. 304 in t. IX of L'Orphéon, pp. 78-86. Vocal lines only. Copy: F-Pc.
81A 218 Alter dedicatee: the correct titie of Bertin's opera was Esmeralda. Also add to bibliography Peter Bloom, "In the Shadows of Les Nuits d'été", BerliozStudies, ed. Peter Bloom (Cambridge University Press, forthcoming 1992).
81B 219 5-X-[57] should be dated 5-X-[56] (to Rieter-Biedermanu, CG 2177).
220 Add to bibliography: Julian Rushton, "Les Nuits d'été: Cycle or Collection?" Berlioz Studies, ed. Peter Bloom (Cambridge University Press, forthcoming 1992).
83B 223 An autograph harp part, 1 p. m-fol., sold at the Alfred Bovet sale, Liepmanssohn, Berlin, 1911.
84 225 The autograph score is in the Fondation Martin Bodmer, Cologny, Switzerland (CH-CObodmer).
88 234 Add to performances: 16-IV-60 (Paris; Maurin, vn with Ketten, pf).
89 240 Alter in performances: conductor of the first performance was Pantaléon Battu.
101B 264 5-X-[57] should be dated 5-X-[56] (to Rieter-Biedermann, CG 2177).
105 269 An autograph draft TP was sold at Sotheby's, 13-VI-1966.
107 270 Date for 107A should read 1845.
108 274 Current thinking is that the ms. copy at F-Po is not in the hand of  Rocquemont and not the work of Berlioz; it will not appear in NBE.
110 276 Orchestral parts F-Pn Rés. Vma ms 953 are now F-Pc D 17842. Add 29-VI-47 (to Griepenkerl, MS): describing the project.
111 302 Alter in Text: probably Münzloff.
117 307 Lithographed chorus parts are now F-Pc D 17545.
128 326 Add to sources: an arrangement of the overture by Balakirev was published in 1864.
130 340 Line 13: the copy in Cambridge is in the University Library, shelf-mark MR.210.b.85.1.
133 383 The sketch at US-NYcu is continued in F-Pn Vma ms 1262 (16 pp., end of  act IV). The Choudens printed full score is 1889.
385 The printed libretto of La Prise de Troie was first published in German, Köln und Leipzig: Albert Ahn, 1890. Contract for the Lévy libretto of LesTroyens à Carthage is dated 29-IX-63.
138 411 A ms. full score of the overture, marked Bote & Bock, is at GB-En (74 pp.).
483 C875 rpt. ATC, pp. 349–60. C876 bis: for Gounod read "Bellini".
499 Add 2bis: The 1855 Fliegende Blätter Catalogue.