Mikhail Glinka in Paris - the 1840's

from Letters of composers : an anthology, 1603-1945 / compiled and edited by Gertrude Norman and Miriam Lubell Shrifte., pages 133,134:

Not only have I heard Berlioz’s music in concert and rehearsal but I’ve come to know this composer quite well, in my opinion the foremost of our time (in his genre, to be sure), and I have become his friend, so far as it is possible to be a friend of such an eccentric character. / It seems to me that in the domain of fantasy no one has more colossal inventive faculty, and his works, in addition to their other merits, are absolutely original. Breadth in the total structure, development of detail, compact harmonic tissue, and that tremendously powerful orchestration – unheard-of up to now …   more >>
cite as

Gertrude Norman and Miriam Lubell Shrifte (ed.), Letters of composers : an anthology, 1603-1945 / compiled and edited by Gertrude Norman and Miriam Lubell Shrifte. (New York, 1979), p. 133,134. http://led.kmi.open.ac.uk/entity/lexp/1424684041966 accessed: 25 November, 2017

location of experience: Paris

Listeners

Mikhail Glinka
Composer
1804-1857

Listening to

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Overture from Les Francs-Juges / Scherzo of Queen Mab from Roméo et Juliette / the Pilgrim’s March from Childe Harold / Dies Irae and the Tuba Mirum from the Messe des morts
written by Hector Berlioz

Experience Information

Date/Time the 1840's
Medium live
Listening Environment indoors, in public

Notes

Letter from Mikail Ivanovich Glinka to Nestor Kukolnik, writer, librettist for part of Glinka’s Ruslan and Lyudmila, Paris, April 18, 1845.


Originally submitted by verafonte on Mon, 23 Feb 2015 09:34:02 +0000
Approved on Thu, 12 Nov 2015 13:52:34 +0000