Name: Liquidation Sale [music In Paris] [berlioz, Hector. (1803-1869)] [david, Félicien. (1810-1876)] [roger, Gustave-hippolyte. (1815–1879)] Concert Program Secure Checkout [EmKQHqU7]
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Liquidation Sale [music In Paris] [berlioz, Hector. (1803-1869)] [david, Félicien. (1810-1876)] [roger, Gustave-hippolyte. (1815–1879)] Concert Program Secure Checkout [EmKQHqU7]

Undated concert program, ca. 1850, from an unidentified ensemble with unidentified conductor, possibly the Cercle Musical de Paris, featuring early French performances of works by Berlioz, Fèlicien David, Molsberg, Beethoven, Mendelssohn (amusingly spelled!), and Haydn and including vocal contributions by the legendary French tenor Gustave-Hippolyte Roger. 8 x 10 inches, toning and staining around edges, upper left corner perished, creased.

Roger debuted in 1838 as Georges in Halevy's L'éclair (Opéra-Comique) and several roles were created for him by Halevy, Auber, Meyerbeer, Berlioz and Thomas - among others, he was the first Jean de Leyde (1849) in the first Prophete and Faust in the concert vesion of "La Damnation de Faust" (1846). He toured Germany several times, partnered often with Jenny Lind and Viardot and was a popular friend of French musicians and literary figures. Shortly after 1859 he lost his right arm in a shooting accident, after which he appeared on stage with a mechanical arm.

A fascinating if mysterious program illustrating the tremendous shifting musical-cultural tastes of the French concert public during the middle of the 19th century. Of particular note is the partial performance of Beethoven's 7th Symphony, situated in the program's first half with sections of Berlioz's Harold en Italie and Symphonie Fantastique and sections of David's Eb Symphony (the second half of the concert including selections from his Le Désert). "Like Berlioz a pupil of Lesueur at the Conservatoire, David had suddenly shot to fame through a performance of his ode-symphony Le Désert at the Conservatoire on 8 December 1844. The work appealed to the contemporary fashion for Orientalism; it became instantly popular with audiences in France and remained a favourite for decades to come (it was performed in Lyon in April 1845 where Berlioz’s sister Adèle heard it and was moved). Berlioz decided to try to secure performance of the new work for his series of concerts and approached David directly and through friends. David was a follower of Saint-Simon and had numerous supporters in the circle of Saint-Simon’s adherents — and he published without delay a highly eulogistic article on David (Journal des Débats, 15 December 1844). Le Désert was in the event performed complete and with great success at the second concert on 16 February...Berlioz’s later reviews of subsequent works or concerts by David are noticeably tepid in comparison....In his private letters he pulled no punches on David’s limitation. It is perhaps ironical that David was later to succeed Berlioz both at the Institut and as Librarian of the Conservatoire." ("Berlioz in Paris: Cirque Olympique (1845)," The Hector Berlioz Website)