1. D. Kern Holoman "The Present State of Berlioz Research." Acta Musicologica, XLVTI (1975), fasc. 1, 31-67.

Introduction

1. Francis F. Clough and C. J. Cuming, The World's Encyclopaedia of Recorded Music (includes First Supplement) (London: Sidgwick and Jackson, 1952; also Second and Third Supplements, 1953, 1957).
2. Christopher Dyment, "Recordings: The Recorded Legacy of Felix Weingartner," Part Two of Christopher Dyment, ed., Felix Weingartner: Recollections and Recordings. Bibliographical Series No. 5. Rickmansworth, Herts., U. K.: Triad Press, 1975, p. 61.
3. Felix Weingartner, Weingartner on Music and Conducting: Three Essays (New York: Dover Publications, 1969).
4. Robert Charles Marsh, Toscanini and the Art of Conducting, New Revised Edition (New York: Collier Books, 1962), p. 195.
5. Johannes Riedel, "Messiah," Journal of Church Music, February 1959, pp. 2-7.

Chapter 1

1. Hector Berlioz, letter of 3 July 1831 to Humbert Ferrand, Correspondance Générale (Paris: Flammarion, 1972, 1975, 1978), I, 467.
2. Hector Berlioz, The Memoirs of Hector Berlioz, trans. and ed. David Cairns (London: Gollancz, 1969), passim.
3. Berlioz/Cairns, ibid.
4. Jacques Barzun, Berlioz and the Romantic Century, Third Edition, 2 v. (New York: Columbia University Press, 1969), passim.
5. Jürgen Kindermann, "Foreword," in Hector Berlioz, Grande Messe des morts, New Edition of the Complete Works, Volume 9, Ed. Jürgen Kindermann (Kassel: Bärenreiter, 1978), viii-x.
6. Edward T. Cone, "Berlioz' Divine Comedy: The Grande Messe des morts," 19th Century Music, 4 (1980), 3-16.
7. Alec Robertson, Requiem: Music of Mourning and Consolation (London: Cassell and Company, 1967), pp. 91-92.
8. Barzun, I, 280-84.
9. Kindermann, Appendices to NBE, passim.
10. Joseph Braunstein, Liner notes for THS 65017/18, Berlioz GMdm cond. Scherchen (n. p.: Vox Productions, Inc., 1974).

Chapter 2

1. Leonard Bernstein, The Unanswered Question: Six Talks at Harvard (Cambridge MA: Harvard Univ. Press, 1976), pp. 216-25; also Leonard Bernstein, The Infinite Variety of Music (New York: Simon and Schuster, 1966), pp.l24-27.
2. Carmen Weingartner-Studer, "Weingartner's Life and Work: An Appreciation," in Dyment, Felix Weingartner, p. 13.
3. Christopher Dyment, "Weingartner Conducts Berlioz," privately published, 1977.
4. Stewart Deas, "Weingartner as Teacher," in Dyment, Felix Weingartner, p. 28.
5. Holoman, p. 33.
6. Weingartner-Studer, p. 13,
7. Deas, p. 28.
8. Weingartner-Studer, ibid.
9. Holoman, p. 50,
10. Dyment, "Recordings," pp. 73, 79, 88.
11. Dyment, "Weingartner Conducts Berlioz."
12. Imogen Holst, Liner notes for HLM 7014, Gustav Holst conducts The Planets, Op. 32 (n. p.: HMV Records, 1972).
13. Dyment, "Weingartner Conducts Berlioz."
14. Ibid.
15. David Greer, ed., Hamilton Harty, His Life and Music (Belfast: Blackstaff Press, 1979), passim.
16. Matthew B. Tepper, Letter, "Sir Hamilton Harty," Gramophone, 60 (1983), 989.
17. Harvey Sachs, Toscanini (Philadelphia: Lippincott, 1978), pp. 341, 344, passim.
18. Elisabeth Schwarzkopf, On and Off the Record: A Memoir of Walter Legge (New York: Scribner, 1982) p. 97.
19. B. H. Haggin, Conversations with Toscanini, Second Edition, Enlarged (New York: Horizon Press, 1979), pp. 8, 60, 66.

Chapter 3

1. Barzun, I, 277-78.
2. Berlioz/Cairns, p. 231.
3. Berlioz/Cairns, pp. 594-95.
4. Barzun, ibid.
5. Berlioz, Correspondance, ii, 400, 443.
6. Barzun, i, 401-02.
7. Berlioz/Cairns, pp. 259-61.
8. Berlioz/Cairns, pp. 248, 301, 304, 312-13, 315, 336-39.
9. Berlioz, Correspondance, iii, 171-72.
10. Berlioz, Correspondance, iii, 304, 361.
11. Barzun, I, 555-56.
12. Barzun, II, 46.
13. Berlioz, Correspondance, ii, 621, 638.
14. Berlioz, Correspondance, ii, 678.
15. Berlioz, Correspondance, ii, 71I.
16. NBE, p. ix.
17. Hans Böhm, "Berlioz-Requiem 31 Jahre nach der Zerstörung." Musica, 30 (1976), 229-30; also Hans Böhm, "Grosse Totenmesse von Berlioz." Musik und Gesellschaft, 26 (1976), 244.
18. H. Earle Johnson, First Performances in America to 1900: Works with Orchestra. Bibliographies in American Music Number Four. Detroit: The College Music Society/Information Coordinators, Inc., 1979, pp. 68-69.
19. Barzun, II, 304-06.
20. Louise Varèse, Varèse: A Looking-Glass Diary, Volume 1: 1883-1928 (New York: Norton, 1972), pp. 128-31.
21. W. J. Turner, "A Musical Cataclysm," The New Statesman, 26 (1925), 174-75.
22. "Berlioz's 'Requiem'," The Times (London), 14 Nov. 1925, p. 10, col. 3.
23. Turner, ibid.
24. Tepper, ibid.
25. Review of Harty 1936 performance, The Times (London), 5 March 1936, p. 12, col. 2.
26. Times, 1925.
27. Sir Hamilton Harty, "Berlioz," Broadcast lecture of 2 March 1936, BBC, London; see Appendix D.
28. Philip Heseltine, Letter to Sir Hamilton Harty, 21 Jan. 1927, quoted in Greer, pp. 84-85.
29. Dyment, "Weingartner Conducts Berlioz."
30. Böhm, "Berlioz-Requiem."
31. "Orchestrator," Time, 23 May 1938, p. 60.
32. Cecil Smith, "Berlioz Requiem Ends Tanglewood Series," Musical America, Sept. 1952, p. 9.
33. "Requiem at Tanglewood," Time, 30 August 1954, p. 48.
34. John Ardoin, Rev. of Ormandy perf. Musical America, May 1964, p. 30.
35. George Movshon, Rev. of Ozawa perf. High Fidelity/Musical America, May 1969, pp. MA-19-20.
36. Irving Kolodin, "Ozawa on Berlioz." Saturday Review, 1 March 1969, pp. 41-42.
37. Dominic Gill, Rev. of Davis perf., Musical Times, 110 (1969), 852.
38. Nancy Benvenga, "Report from London: Berlioz' Echoes," Current Musicology, 10 (1970), 36-40.
39. Tony Mayer, rev. of Fournet/Lyon perf. Opera Special Festival Issue, Autumn 1969, pp. 78-79.
40. Böhm, ibid.
41. Ardoin, ibid.
42. Judith Nagley, Rev. of Previn perf., Musical Times, 121 (1980), 392.
43. Geoffrey Norris, Rev. of Pritchard perf., Musical Times, 121 (1980), 574.
44. Stephen Pettit, Rev. of Wright perf., Musical Times, 122 (1981), 401.
45. André Segond, "Lyon: Festival Berlioz," Opera Canada, Spring, 1982, pp. 35-36.
46. Ibid.
47. Kurt Neufert, Rev. of 1981 Baudo perf., Opernwelt, Dec. 1981, pp. 48-49.

Chapter 5

1. Hector Berlioz, Grande Messe des morts (New York: Broude Brothers, n. d.); reprint of Weingartner-Malherbe edition, also known as Old Berlioz Edition, or OBE.
2. Hector Berlioz, Grande Messe des morts, New Edition of the Complete Works, Volume 9, Ed. Jürgen Kindermann (Kassel: Bärenreiter, 1978); also known as NBE.
3. Nicholas Temperley, Rev. of NBE, Musical Times, 121 (1980), 111.
4. NBE, p. 151.
5. Benvenga, ibid.

Chapter 6

1. NBE, p. 177.
2. OBE, p. 1.
3. Barzun, II, 347.
4. Berlioz/Cairns, p. 539.
5. Stefan Zucker. "Different Kinds of High Notes and the 'Seismic Shock,'" American Record Guide, March 1982, p. 9.
6. OBE, p. 95.
7. Liner notes for Melodiya 33CM 03459-62, GMdm cond. Chekijian (N. p., n, d., rec. 1969); translation made at author's request by Alexander Airapetyan.

Chapter 7

1. Henry-Jacques, Rev. of Fournet rec., Disques, 90. 58 (Summer 1953), 443.
2. B. H. Haggin, Rev. of Fournet rec., The Nation, 167 (1948), 530.
3. Peter Hugh Reed, Rev. of Fournet rec., The American Record Guide, 15 (Nov, 1948), 82-83.
4. NBE, passim.
5. Irving Kolodin, The New Guide to Recorded Music, International Edition (Garden City: Doubleday, 1950), p. 68.
6. Letter received from Audrey F. Lawson, 14 March 1983.
7. "'Requiem' Wax Stirs French National Pride," Billboard, 28 April 1958, p. 1.
8. Ibid.
9. Joel Smith, "April in Paris." Hi Fi & Music Review, September 1958, pp. 36-37.
10. Herbert Weinstock, "Two Views of the Berlioz 'Requiem,'" Saturday Review, 30 August 1958, pp. 36, 47.
11. Robert Lawrence, "The Best of Berlioz," Saturday Review, 28 May 1960, p. 61.
12. Benvenga, ibid.
13. David Hamilton, rev. of Bernstein and Frémaux recs., High Fidelity, April 1977, pp. 93-94.
14. David Hall, Rev. of Bernstein and Frgmaux recs., Stereo Review, March 1977, p. 126.
15. Suvi Raj Grubb, Liner notes for DSB-3907, GMdm cond. Previn (N. p.: Angel Records, 1981).

Chapter 8