David Cairns (1) (1926–)
Autor(a) de Berlioz: Volume One: The Making of an Artist, 1803-1832
Para outros autores com o nome David Cairns, ver a página de desambiguação.
About the Author
David Cairns was chief music critic of the Sunday Times and the Spectator. He has been Distinguished Visiting Professor at the University of California and a visiting fellow of Merton College, Oxford.
Séries
Obras por David Cairns
Associated Works
BBC Proms 2012 : Prom 18 : Beethoven Cycle : Symphony No. 9, 'Choral' [programme] (2012) — Introdução — 1 exemplar
BBC Proms 2019 : Prom 37 : The Childhood of Christ [programme] (2019) — Programme note, Translator — 1 exemplar
BBC Proms 2021 : Prom 42 : Benjamin Grosvenor performs Beethoven’s piano concerto no.4 [programme] (2021) — Programme note — 1 exemplar
Etiquetado
Conhecimento Comum
- Nome legal
- Cairns, David Adam
- Data de nascimento
- 1926-06-08
- Sexo
- male
- Nacionalidade
- UK
- Local de nascimento
- Loughton, Essex, England, UK
- Ocupações
- journalist
non-fiction writer
musician
chief music critic of the Sunday Times (1983-1992) - Prémios e menções honrosas
- British Academy (Derek Allen Prize|1992)
Membros
Críticas
Prémios
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Associated Authors
Estatísticas
- Obras
- 6
- Also by
- 5
- Membros
- 241
- Popularidade
- #94,248
- Avaliação
- 3.9
- Críticas
- 5
- ISBN
- 48
- Línguas
- 2
This struggle becomes even more incomprehensible when compared to the widespread acclaim Berlioz received for his music throughout Europe. Though not universal, the adulation he received throughout Europe proved an essential prop to his career, providing him with an income he desperately needed for his financial obligations. These had expanded in 1832 with his marriage to the English actress Harriet Smithson. Once the toast of the Parisian theater, her career was in decline by the time she met Berlioz in 1831. When the book begins, the two are settling down into married life faced with the problem of how to pay the money the Berliozes owed to Smithson’s creditors. This proved challenging; though Berlioz enjoyed a reputation as a rising composer, he faced a perennial difficulty in staging concerts, the proceeds of which were the main source of income for artists at that time,
Faced with such difficulties, Berlioz turned instead to another field: journalism. This proved profitable enough for the Berliozes, despite taking Hector away from his composing. As a music critic himself Cairns is ideally suited to evaluate this aspect of Berlioz’s career, and he gives high marks to the high quality of his subject’s writing. This may have earned him enemies, but with a young son and his wife’s acting career ending the income was one that Berrlioz could ill afford to decline.
Nevertheless, Berlioz continued composing. These were the years of his Requiem and of his opera Benvenuto Cellini. Because of them, by the end of the 1830s Berlioz was at the height of his popularity in Paris. Yet financial success still eluded him, thanks to the poor quality of the performers, the limited availability of venues and the restrictions imposed by the French government. The situation led him by the early 1840s to look outside of France for performance opportunities. These he soon found in Germany, where he discovered the skilled orchestras and rapturous audiences missing at home. This established a pattern that would define the next quarter-century of his life, as he enjoyed acclaim everywhere except the one place that mattered the most to him.
Part of the problem for Berlioz was the changing tastes of his Parisian audiences. By the 1840s the fad for Romantic music had run its course in the French capital, which affected negatively the reception of his oratorio The Damnation of Faust, his major work during that decade. Performing outside of France remained profitable, but the task of traveling and organizing performances took time away from composition. It wasn’t until 1856 that Berlioz began work on what Cairns regards as his magnum opus, an epic opera based on the Aeneid called The Trojans. Though completed two years later, the sheer scale of it – five acts that took five hours to perform – made it difficult to stage. Though Berlioz invested five years in the effort, it was only produced in a truncated version in 1863. The dispiriting result, coupled with Berlioz’s increasingly poor health, brought an end to his career as a composer, just six years before his death.
Though shunned as a composer by many of his countrymen during his lifetime, in the decades since his death Berlioz has come to be regarded by them as one of the greatest artists in their nation’s long history, thus fulfilling his deathbed prediction. It is in Cairns’s biography, however, that he had fully received his due, In it he gives an account of Berlioz’s life that is sympathetic while remaining critical in it judgments. He supplements his text with long extracts from Berlioz’s correspondence, giving his reader’s a sense of his own voice as a writer, It makes for a masterpiece of scholarship that enriches not just our understanding of the life of one of the great classical composers but of his music and the broader culture in which it was produced. No reader interested in Berlioz or in the music of his era can afford to ignore it.… (mais)