Music with extra-musical subtexts has existed for a long time, but it was the Romantics who first combined story and music in a close synthesis. Their pioneer was Hector Berlioz, who dove into the art of musical storytelling with a daring never before seen, yet with an artistic integrity rarely achieved since. Berlioz first saw [...]
"By God, you will be no doctor or apothecary, but a great composer." —Jean-François Le Sueur, to Hector Berlioz, upon hearing the premier of the Messe Solennelle Saint-Roch Church, Paris Its premier in 1825 marked one of the most remarkable musical debuts ever by a composer, and the score's rediscovery 167 years later [...]
Could anything as tender and touching as "L’Enfance du Christ" have been written by a man who did not believe? One hopes that professed atheist Hector Berlioz was able to find the Christmas that he portrayed so beautifully. Today’s offering in our Timeless Essay series affords our readers the opportunity to join Robert Reilly, as he [...]
"They are finally going to play my music." —Hector Berlioz, on his deathbed Though Hector Berlioz's operas are still little known today—even to the opera-going public, who are much more likely to find the dramas of Verdi, Puccini, Bellini, and Mozart on the program—the increasing recognition of their many glories is slowly making them less [...]
Hector Berlioz's version of the "Te Deum" surpasses them all in its colossal scale. The French composer has often been accused of bombast, but here the gigantic forces required are completely fitting for this cosmic hymn of praise. “[I]t was enthusiasm itself that inspired the Te Deum...[A]mid clouds of smoke and yet reeking blood, a [...]
It’s October, Halloween is approaching and I am obsessed with Berlioz’s Symphonie fantastique. Blame it on the title and mood of the symphony’s fifth movement: “Dream of a Witches’ Sabbath.” Could any title be more deliciously spooky? It’s this movement, and this symphony, that make classical music people nod in recognition at the sound of Hector Berlioz’s [...]
Hector Berlioz wrote the Chant Sacré (Sacred Song) in 1829, using re-using a melody he had employed in his cantata of the previous year, Herminie. Berlioz went on to create three arrangements for this gorgeous and brief piece: for choir and piano; for chorus and orchestra; and, in 1844, a version for six wind instruments. [...]
From his first experience of "Hamlet" in 1827 to his death in 1869, Hector Berlioz found William Shakespeare's plays to be an ongoing source of almost-divine inspiration for his music. Indeed, Berlioz's love for "the father of artists" led to the creation of what many consider to be his greatest work: the dramatic symphony, "Roméo [...]
Hector Berlioz brightened the world with his art. He marched to the beat of his own drum — sometimes literally. My binge on Berlioz has made me warm to the composer. And I am readier, I think, to accept him on his own terms. Many years ago, a reader introduced himself to me outside the [...]
"I consider this to be one of my best works," Hector Berlioz wrote of "The Damnation of Faust." Though the piece's spirit is one of unrelenting melancholy, it features much musical diversity and is kaleidoscopic, even cinematic, in its vision. The listener here again recognizes the stunning modernism of Berlioz and finds himself immersed in [...]
Today’s offering in our Timeless Essay series affords our readers the opportunity to join Stephen Klugewicz, as he provides musical suggestions for listening during Holy Week and the Easter season. —W. Winston Elliott III, Publisher Though Handel’s Messiah rightly reigns supreme as the king of music for Easter, there are many other seasonal masterpieces [...]
"I feel I am dying," Hector Berlioz wrote in one of his last letters. "I no longer believe in anything." Indeed, by 1869, Berlioz was a frustrated man who had long ago given up his Catholic faith and who had largely given up composing. For many years, the limited and intermittent success of his compositions had [...]
“I swear I shall never again achieve this verve and Cellinian impetuosity nor such variety of ideas,” Hector Berlioz effused about his opera, Benvenuto Cellini, based on the memoirs of the eponymous Renaissance artist who fashioned the great statue of Perseus cutting off the head of Medusa. Premiered in 1838, the opera was a failure, [...]
In his two-volume Berlioz and the Romantic Century, historian Jacques Barzun argued that the much-maligned and misunderstood composer was in fact the dominant cultural figure of his day, “who by will and genius stamped his effigy upon the nineteenth century” and brought “kings, ministers, and public institutions, no less than poets and musicians, under his spell.” Publisher's Note: This essay [...]