From composition until the first performance, Berlioz's time was occupied with physical arrangements for the premiere: parts were copied, chorus parts lithographed, and rehearsals got underway.

Berlioz's epic masterpiece Les Troyens, the culmination of the Gluckian tradition, was not given a full performance for almost a hundred years.

Hector Berlioz's Harold in Italy was written for solo viola and orchestra.

His father, a respected provincial physician and scholar, was responsible for much of the young Berlioz's education.

On Berlioz's return to Paris, a concert including Symphonie fantastique ( which had been extensively revised in Italy ) and Le retour à la vie was performed, with among others in attendance: Victor Hugo, Alexandre Dumas, Heinrich Heine, Niccolò Paganini, Franz Liszt, Frédéric Chopin, George Sand, Alfred de Vigny, Théophile Gautier, Jules Janin and Harriet Smithson.

In early 1844, Berlioz's highly influential Treatise on Instrumentation was published for the first time.

Berlioz's joke " If the Emperor of Russia wants me, then I am up for sale " was taken seriously.

The two tours of Russia ( the second in 1867 ) proved so financially successful that they secured Berlioz's finances despite the large amounts of money he was losing in writing unsuccessful compositions.

Both she and her husband were staunch supporters of Berlioz's music, and she was present at Berlioz's deathbed.

Berlioz's work as a conductor was highly influential and brought him fame across Europe.

Engel offers an explanation of Berlioz's ability to detect such things as in part due to the sheer nervous energy he was experiencing during conducting.

An unusual ( but telling ) example of the increase of Berlioz's fame in the 60s was an explosion of forged autographs, manuscripts, and letters, evidently created to cater for a much greater interest in the composer.

Simultaneous with Berlioz's discovery of Shakespeare was his immersion in the texts of true Romanticism.

At one point, Robert Schumann was motivated to publish a detailed rebuttal of one of Fétis ' attacks on Berlioz's Symphonie fantastique in his own Neue Zeitschrift für Musik journal.

The theme itself was taken from Berlioz's scène lyrique " Herminie ", composed in 1828.

Among the most conspicuous of Davis's projects with the orchestra was the LSO's most ambitious festival thus far, the " Berlioz Odyssey ", in which all Berlioz's major works were given.

During the 1983-84 season the Met celebrated its 100th anniversary with an opening night revival of Berlioz's mammoth opera Les Troyens and with an eight-hour Centennial Gala concert that unfolded in two parts on October 22, 1983 and was broadcast on national television.

Hector Berlioz's Symphonie fantastique was a musical narration of a hyperbolically emotional love story he wrote himself.

It was the first of Berlioz's operas.

This complete version of Berlioz's work was directed by Scottish composer Erik Chisholm.

To mark the bicentenary of Berlioz's birth in 2003, Les Troyens was revived in productions at the Théâtre du Châtelet in Paris ( conducted by John Eliot Gardiner ), Amsterdam ( conducted by Edo de Waart ), and at the Metropolitan Opera ( with the American mezzo-soprano Lorraine Hunt Lieberson as Dido, conducted by James Levine ).

He was deeply involved in the 1864 Shakespeare Festival in Prague, conducting Berlioz's Romeo et Juliette and composing a festival march.

Among them is a 1951 recording of Rankin's Amneris in Aida that was conducted by Herbert von Karajan for radio broadcast in Vienna, a recording of Verdi's Requiem at La Scala from that same year, and the 1960 La Scala production of Berlioz's Les Troyens.

He may have also been influenced by a political dispute over Berlioz's worthiness as a republican, since Berlioz, who regularly met kings and princes, had severely criticized the 1848 Revolution, speaking of the " odious and stupid republic ".

The Freischoeffen also provided the subject for Berlioz's unfinished opera Les francs-juges, the overture to which provided the signature tune for ' Face to Face ', the well-known early series of British television interviews, conducted by the Rt Hon John Freeman MBE.

Berlioz's Orchestration Treatise: A Translation and Commentary, translated by Hugh Macdonald.

The Invitation to the Dance, although better known in Berlioz's orchestration ( as part of the ballet music for a Paris production of Der Freischütz ), has long been played and recorded by pianists ( e. g., Benno Moiseiwitsch Carl Tausig's arrangement ).

He entered into a relationship with – and subsequently became engaged to – Camille Moke, despite the symphony being inspired by Berlioz's obsession with Harriet Smithson.

The five movement Symphonie fantastique, partly due to its fame, is considered by most to be Berlioz's most outstanding work, and the work had a considerable impact when first performed in 1830, 3 years after the death of Beethoven and 2 years after that of Schubert.

* The Lied and Art Song Texts Page List of the musical settings for most of Berlioz's major works, with translations into various languages, as maintained by Emily Ezust

Under Colin Davis it made its first opera sets: Mozart's Idomeneo and The Marriage of Figaro, and Berlioz's Benvenuto Cellini, as well as works by Beethoven and Tippett.

In December 1900 Monteux played the solo viola part in Berlioz's Harold in Italy, rarely heard in Paris at the time, with the Colonne Orchestra conducted by Felix Mottl.

Col legno is used in the final movement of the Piano Concerto No. 2 by Frédéric Chopin, which predates the more famous use in the " Dream of Witches ' Sabbath ", in the final movement of Berlioz's Symphonie Fantastique, in the score of the film Alien by Jerry Goldsmith, as well as in " Mars, the Bringer of War " from Holst's The Planets, the first movement of Mahler's Symphony No. 2, and Mussorgsky's Night on Bald Mountain.

" Musically, the supposed ritual has been used as inspiration for such works as Night on Bald Mountain by Modest Mussorgsky and the fifth movement of Hector Berlioz's Symphonie Fantastique.

Strauss, however, mentions both instruments in his 1904 revision of Hector Berlioz's Grand Traité d ' instrumentation et d ' orchestration modernes, and ( like Varèse ) specifies the instrument by name in his orchestral scores, so preventing any ambiguity.

He returned to the material in 1845, to make a larger work, with some additional text by Almire Gandonnière to Berlioz's specifications, that he first called a " concert opera ", and as it expanded, finally a " dramatic legend ".

Occasional performances took place after Berlioz's death: in Hanover in 1879, Vienna in 1911, and as part of the inaugural season at the Théâtre des Champs-Élysées for six performances from 31 March 1913 conducted by Weingartner.

Incorporated within the production programming of Animating Opera is the America staged premiere of Messiaen's Saint-François d ' Assise, the complete version of Berlioz's Les Troyens, Virgil Thomson's The Mother of Us All, as well as a commission for a new work by John Adams and Peter Sellars entitled Doctor Atomic, which premiered on October 1, 2005.

Other recordings included Parry's Job, Haydn's The Creation, Paroles tissées by Lutosławski, Offenbach's Vert-Vert, Berlioz's Grande Messe des Morts, Op.

* Berlioz's Benvenuto Cellini: " Ascanio " is sung by a mezzo-soprano

It is based on Shakespeare's play Romeo and Juliet ; it is regarded as one of Berlioz's finest works, and it is among the most original in form.