Les Troyens is so widely accepted as Berlioz’s greatest work, that the progress of the Berlioz Renaissance is punctuated by performances of it in the opera house and in concert, beginning, arguably, with Sir Thomas Beecham’s moderately abridged 1947 BBC broadcast. Now Boston music-lovers may consider the Berlioz Renaissance to be something of a noble fiction, since his music has had its own secure place in the Boston Symphony repertoire for many years, maturing with Charles Munch’s arrival in 1949. During his tenure he and the BSO performed and recorded several of Berlioz’s most important works, and the recordings are still considered among the best. Later, both Jean Martinon and Seiji Ozawa continued the tradition most capably, and Berlioz has been one of James Levine’s great enthusiasms since early in his career.
Articles by The Editor
In February the University of Rochester Press published the 50th volume in its acclaimed series. The book is entitled Eastman Studies in Music: Music Theory and Mathematics: Chords, Collections, and Transformations(edited by Jack Douthett, Martha M. Hyde, and Charles J. Smith). "When we began, I didn't dare dream that this could happen," says Ralph Locke (pictured right in front of the URP offices), a professor at the Eastman School of Music for more than 30 years and series editor since 1994. "We started producing two books a year, and now we are up to seven and growing, which means we can publish books on a range of topics and reach a wider spectrum of the reading public."