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Berlioz and took
These secrets, Berlioz suggested in the text of Roméo et Juliette the playwright took with him to heaven.
Later came The Tempest, King Lear, a funeral march for the final scene in Hamlet, the love scene for Les Troyens ( which, some claim, Berlioz took from The Merchant of Venice ), and Béatrice and Benedict.
On the death of Berlioz in 1869, he took his place in the Institut de France.
The instrument was, in fact, so large that it took two musicians to play: one to bow and the other to control the " fingering ", and was consequently never produced on a large scale or used much by composers ( although Hector Berlioz wrote favorably about the instrument and proposed its widespread adoption ).

Berlioz and full
* Works by Hector Berlioz full scores and set of parts
* Symphonie Fantastique on The Hector Berlioz Website, with links to Scorch full score and program note written by the composer
Berlioz used the money primarily to repay his debts, and afterwards was still left with " a handsome sum of money ", which he used to allow himself to put his full focus towards working on " a really important work ", unobstructed by his usual time-consuming obligations as a critic.
24 is a work for four solo voices, full seven-part chorus, large children's chorus and orchestra by the French composer Hector Berlioz.
Les Troyens by Hector Berlioz ( composed 1856 – 1858, later revised ), was not given a full performance until nearly a century after Berlioz had died — although portions had been staged before — but the spirit of this work is far removed from the bourgeois taste of the grand opera of the 1830s and 1840s.

Berlioz and times
Weber's orchestration has also been highly praised and emulated by later generations of composers – Berlioz referred to him several times in his Treatise on Instrumentation while Debussy remarked that the sound of the Weber orchestra was obtained through the scrutiny of the soul of each instrument.
While Berlioz is best known as a composer, he was also a prolific writer, and supported himself for many years by writing musical criticism, utilising a bold, vigorous style, at times imperious and sarcastic.
Conceived at various times as a free-form oratorio and as an opera ( Berlioz ultimately called it a " légende dramatique ") its travelogue form and cosmic perspective have made it an extreme challenge to stage as an opera.
While the Grand Opéra in Paris performed both " halves " of the unwillingly severed work at various times between 1899 and 1919, the company did not produce the complete Les Troyens, in one evening as Berlioz had conceived it, until 10 June 1921, with mise-en-scène by Merle-Forest, sets by René Piot and costumes by Dethomas.
Sometimes a theme may occur at the beginning and end ( for example, in the Brahms Symphony No. 3 ); other times a theme occurs in a different guise in every part ( Berlioz, Symphonie Fantastique ).

Berlioz and editor
Almost from the founding, Berlioz was a key member of the editorial board of the Gazette as well as a contributor, and acted as editor on several occasions while the owner was otherwise engaged.

Berlioz and allowing
Berlioz later remarked that his conducting was much improved owing to the considerable pain he was in on the day, allowing him to be " emotionally detached " and " less excitable ".

Berlioz and himself
Upon his return to Rome, Berlioz posed for a portrait painting by Émile Signol ( completed in April 1832 ), which Berlioz did not consider to be a good likeness of himself.
Cherubini felt that a government-sponsored commission should naturally be offered to himself rather than the young Berlioz, who was considered an eccentric.
Berlioz supported himself and his family by writing musical criticism for Paris publications, primarily Journal des débats for over thirty years, and also Gazette musicale and Le rénovateur.
The performance was held in the open air on July 28, conducted by Berlioz himself, at the Place de la Bastille.
Liszt was an enthusiastic performer and supporter, and Wagner himself, after first expressing great reservations about Berlioz, wrote to Liszt saying: " we, Liszt, Berlioz and Wagner, are three equals, but we must take care not to say so to him.
" As Wagner here implies, Berlioz himself was indifferent to the idea of what was called " la musique du passé " ( music of the past ), and clearly influenced both Liszt and Wagner ( and other forward-looking composers ) although he increasingly began to dislike many of their works.
Perhaps as a result of this reading and seeing himself as an archetypical tragic hero, Berlioz began to weave personal references into his music.
The story behind this work relates to Berlioz himself and can be considered somewhat autobiographical.
Berlioz often had to arrange for his own performances as well as pay for them himself.
An example of another journal of the same time is the Revue musicale, which thrived on personal attacks, many against Berlioz himself from the pen of critic François-Joseph Fétis.
Hector Berlioz himself paid tribute to the ' Father of the Viennese Waltz ' by commenting that " Vienna without Strauss is like Austria without the Danube ".
Under Boulez the orchestra recorded mostly twentieth century music – works by Bartók, Berg, Schoenberg and Boulez himself, and also Berlioz.
Hector Berlioz investigated Castor et Pollux and particularly admired the aria " Tristes apprêts ," but " whereas the modern listener readily perceives the common ground with Berlioz ' music, he himself was more conscious of the gap which separated them.
During the following decade he visited various European cities, impressing with his virtuosity not only audiences but also famous musicians such as Hector Berlioz and Paganini himself, whom he encountered at his London debut in 1834.
In 1852 he moved to Hanover, at the same time dissociating himself from the musical ideals of the ' New German School ' ( Liszt, Richard Wagner, Hector Berlioz, and their followers, as defined by journalist Franz Brendel ) and instead making common cause with Robert Schumann, Clara Schumann and Johannes Brahms.
Berlioz himself was eager to see the work staged, but once he did, he conceded that the production techniques of his time were not up to the task of bringing the work to dramatic life.
Berlioz wrote the French libretto himself, based closely on Shakespeare's Much Ado About Nothing.
The libretto was written by Berlioz himself from Virgil's epic poem The Aeneid ; the score was composed between 1856 and 1858.
Berlioz himself arranged for the entire score to be published by the Parisian music editors, Choudens et Cie.

Berlioz and articles
The books which Berlioz has become acclaimed for were compiled from his journal articles.
He also wrote weekly articles for The Manchester Guardian ( 1919 – 24 ) and Glasgow Herald ( 1924-28 ) and contributed to The Musical Times between 1910 and 1955 on subjects as varied as Claude Debussy ; Women and Music ; Elgar ; Johannes Brahms ; Beethoven's " Unsterbliche Geliebte "; Bayreuth ; Franz Liszt ; J. S. Bach ; Bantock ; Hugo Wolf ; Arnold Schoenberg ; Russian Opera and Russian Nationalism ; Hector Berlioz ; Enrique Granados ; and Modest Mussorgsky.

Berlioz and written
During a visit to Baden-Baden, Edouard Bénazet commissioned a new opera from Berlioz, but due to the illness that opera was never written.
14, is a program symphony written by the French composer Hector Berlioz in 1830.
Berlioz claimed to have written the fourth movement in a single night, reconstructing music from an unfinished project, the opera Les francs-juges.
Opposite the E flat which the clarinet sustains over a chord of the sixth ( D flat, F, B flat ) in the andante of the C minor symphony, Fétis had naively written ‘ This E flat must be F. Beethoven could not have possibly made so gross a blunder .’ In other words, a man like Beethoven could not possibly fail to be in entire agreement with the harmonic theories of M. Fétis .” Troupenas did in fact remove Fétis ’ editorial marks, but Berlioz was still unsatisfied.
On 3 May 1861, Berlioz wrote in a letter: " I am sure that I have written a great work, greater and nobler than anything done hitherto.
Turner declared that Les Troyens was " the greatest opera ever written " in his 1934 book on Berlioz, much preferring it to the vastly more popular works of Richard Wagner.
" Symphonic drama " appears to allude to the " dramatic symphony " Hector Berlioz had written nearly eighty years earlier: and as usual, when Satie makes such allusions, the result is about the complete reversal of the former example.
16, is Hector Berlioz ' second symphony, written in 1834.

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