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341:, which ends and completes the episode in the life of an artist. In such a case, the invisible orchestra is placed on the stage of a theatre behind the lowered curtain. If the symphony is performed in isolation in a concert, this arrangement is no longer necessary; it is even possible to dispense with distributing the programme, retaining only the title of the five movements. The symphony (the author hopes) can to offer in itself a musical interest independent of any dramatic intention.
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757:, sees for the first time a woman who unites all the charms of the ideal being of which his imagination dreamed, and he becomes madly in love with her. By a singular oddity, the cherished image never presents itself to the artist's mind except in connection with a musical idea, in which he finds a certain passionate, but noble and timid character like that which he attributes to the beloved object.
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766:. That is the reason for the constant appearance, in all the movements of the symphony, of the melody that begins the first allegro. The passage from this state of melancholic reverie, interrupted by a few fits of unprovoked joy, to that of a delirious passion, with its movements of fury, jealousy, returns of tenderness, tears, and religious consolations, is the subject of the first movement
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execution, and that he is witnessing his own guillotining. The procession advances to the sounds of a march sometimes dark and fierce, sometimes brilliant and solemn, in which a muffled sound of heavy footsteps follows without transition the loudest outbursts. At the end of the march, the first four bars of the idée fixe reappear like a last thought of love interrupted by the fatal blow.
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he hopes his loneliness will soon be over. But what if she betrays him!... This mixture of hope and fear, these ideas of happiness, disturbed by some dark forebodings, form the subject of the adagio. At the end, one of the shepherds resumes the ranz des vaches; the other no longer responds. Distant sound of thunder ... solitude ... silence...
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character of nobility and timidity; it is no more than a dance tune – ignoble, trivial and grotesque; it is she who is coming to the sabbath ... Roar of joy as she arrives ... She joins in the diabolical orgy. Funeral knell, burlesque parody of the Dies irae, witches' round dance. The round and the Dies irae together
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1518:, said of the hallucinatory aspects of the work: "Berlioz tells it like it is ... You take a trip, you wind up screaming at your own funeral. Take a tip from Berlioz: that music is all you need for the wildest trip you can take, to hell and back." Others regard the work as more recognisably classical:
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in thirds, for which he directs: "The first quaver of each half-bar is to be played with two drumsticks, and the other five with the right hand drumsticks". The movement proceeds as a march filled with blaring horns and rushing passages, and scurrying figures that later show up in the last movement.
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The
Composer's aim was to develop, in their musical aspects, different situations in the life of an artist. The plan of the instrumental drama, deprived of the aid of words, needs to be explained in advance. The following programme must therefore be considered as the spoken text of an Opera, serving
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on their pipes. This pastoral duet, the scenery, the slight rustling of the trees gently stirred by the wind, some hopes that he has lately found reason to conceive, all conspire to restore to his heart an unaccustomed calm, to give to his ideas a more cheerful colour. He reflects on his isolation;
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in 1835. He had reservations about "wild and bizarre" elements and some of the harmonies, but concluded: "in spite of an apparent formlessness, there is an inherent correct symmetrical order corresponding to the great dimensions of the work – and this besides the inner connection of thought". When
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He sees himself at a sabbath, in the middle of a horrible troop of ghosts, sorcerers, and monsters of all kinds gathered together for his funeral. Strange noises, moans, bursts of laughter, distant cries to which other cries seem to respond. The beloved melody reappears again, but it has lost its
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Having grown sure that his love is unappreciated, the artist poisons himself with opium. The dose of the narcotic, too small to kill him, plunges him into a sleep accompanied by the most horrible visions. He dreams that he has killed the one he loved, that he is condemned, that he is being led to
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The movement is the only one to feature the two harps. Another feature of the movement is that
Berlioz added a part for solo cornet to his autograph score, although it was not included in the score published in his lifetime. It is believed to have been written for the virtuoso cornet player
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The artist is placed in the most diverse circumstances of life, in the midst of the tumult of a festival, in the peaceful contemplation of the beauties of nature. But everywhere, in the city, in the fields, the cherished image comes to present itself to him and stirs up trouble in his
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1589:, variously translated as "wave of passions" or "intimation of passions", signifies "a quintessentially Romantic form of melancholy in which an imagination feeds on its own desires", "all that is indeterminate, not fixed on a concrete object, in human emotions.
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278:. The piece tells the story of the artist's drug-fuelled hallucinations, beginning with a ball and a scene in a field and ending with a march to the scaffold and a satanic dream. The artist's passion is represented by an elusive theme which Berlioz called the
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Berlioz wanted people to understand his compositional intention, as the story he attached to each movement drove his musical choices. He said, "For this reason I generally find it extremely painful to hear my works conducted by someone other than myself."
1510:, calling the work "one of the most remarkable outbursts of genius in the history of music", commented that it was a favourite with the public and with great conductors. Opinions differed about how much the symphony fitted the classical symphonic model.
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1514:, a lifelong proponent of Berlioz's music, remarked on the originality of the work, which "broke upon the world like some unaccountable effort of spontaneous generation which had dispensed with the machinery of normal parentage". A later conductor,
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for each movement of the work. They exist in two principal versions: one from 1845 in the first edition of the work and the second from 1855. These changes show how
Berlioz downplayed the programmatic aspect of the piece later in life.
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the work was played in New York in 1865 critical opinion was divided: "We think the
Philharmonic Society wasted much valuable time in the vain endeavor to make Berlioz's fantastic ravings intelligible to a sane audience" (
903:. It begins with a mysterious introduction that creates an atmosphere of impending excitement, followed by a passage dominated by two harps; then the flowing waltz theme appears, derived from the
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of a fifth movement to the normal four of a classical symphony. The artist's reveries take him to a ball and to a pastoral scene in a field, which is interrupted by a hallucinatory march to the
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and an offstage oboe tossing an evocative melody back and forth. After the cor anglais–oboe conversation, the principal theme of the movement appears on solo flute and violins. It begins with:
1383:. It is initially stated in unison between the unusual combination of four bassoons and two ophicleides. The key, C minor, allows the bassoons to render the theme at the bottom of their range.
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and some spoken commentary. She finally appreciated the strength of his feelings for her. The two met shortly afterwards and began a romance that led to their marriage the following year.
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Each movement depicts an episode in the protagonist's life that is described by
Berlioz in the notes to the 1845 score. These notes are quoted (in italics) in each section below.
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called the symphony "ostensibly autobiographical, yet fundamentally classical ... Far from being romantic rhapsodizing held together only by an outmoded literary commentary, the
1454:, there was protracted applause at the end, and the press reviews expressed both the shock and the pleasure the work had given. There were dissenting voices, such as that of
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The following programme must be distributed to the audience whenever the fantastic symphony is dramatically performed and followed, accordingly, by the monodrama of
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writes of
Berlioz's "emotional derangement" in obsessively pursuing her, without success, for several years. She refused even to meet him. He sent her numerous
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At bar 222, the "witches' round dance" motif is repeatedly stated in the strings, to be interrupted by three syncopated notes in the brass. This leads into the
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that tells the story of a gifted artist who, in the depths of hopelessness and despair because of his unrequited love for a woman, has poisoned himself with
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as the main theme of a sonata form comprising a short exposition followed by alternating sections of development and recapitulation. The
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wrote of the symphony, "formally speaking it is among the finest of nineteenth century symphonies". The composer and musical scholar
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1368:, this section sees the introduction of the bells (or Piano playing in Triple Octaves) and fragments of the "witches' round dance".
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Berlioz claimed to have written the fourth movement in a single night, reconstructing music from an unfinished project, the opera
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returns in the middle of the movement, played by oboe and flute. The sound of distant thunder at the end of the movement is a
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on 5 December 1830, but she heard
Berlioz's revised version of the work in 1832 at a concert that also included its sequel,
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The author imagines that a young musician, afflicted with that emotional affliction which a famous writer calls the
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in the strings. The climactic finale combines the somber Dies Irae melody, now in A minor, with the fugue of the
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found in all classical symphonies. A long, slow introduction leads to an
Allegro in which Berlioz introduces the
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because of his unrequited love for a beautiful and fascinating woman (in real life, the
Shakespearean actress
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as a "vulgar dance tune" is depicted by the C clarinet. This is interrupted by an
Allegro Assai section in
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in a solo clarinet part, as though representing the last conscious thought of the soon-to-be-executed man.
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Complete performance of the symphony by the London Symphony Orchestra accompanied by visual illustrations
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The symphony has long been a favourite with audiences and conductors. In 1831 Berlioz wrote a sequel,
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by Willem van Otterloo (conductor) and the Berlin Philharmonic Orchestra at the European Archive
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Before the musical depiction of his execution, there is a brief, nostalgic recollection of the
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1612:"Berlioz and the Pathological Fantastic: Melancholy, Monomania, and Romantic Autobiography"
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reflects his obsession with Smithson. She did not attend the premiere, given at the
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936:. The work has most often been played and recorded without the solo cornet part.
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534:(played by two players in movements I, IV, and V. Played by four in movement III)
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is one of the most tautly disciplined works in early nineteenth-century music."
679:"Songe d'une nuit du sabbat" (Dream of a night of the sabbath) – C minor/C major
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One evening, finding himself in the country, he hears two shepherds playing a
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published an extensive, and broadly supportive analysis of the piece in the
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This melodic reflection and its model pursue him incessantly like a double
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dynamic variations and instrumental effects, particularly in the strings (
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to bring pieces of music the character and expression that motivates them.
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as "an idea that keeps coming back to mind, an obsessive preoccupation".
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This movement can be divided into sections according to tempo changes:
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1036:. The two shepherds mentioned in the programme notes are depicted by a
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Fantastic Symphony: Episode in the Life of an Artist … in Five Sections
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Symphonie fantastique: Épisode de la vie d'un artiste … en cinq parties
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There are a host of effects, including trilling in the woodwinds and
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204:, who in 1833 became the composer's wife). The composer, who revered
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theme, which recurs in various guises in each of the five movements
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2505:, performed by the Cleveland Orchestra, Artur Rodzinski conducting
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Langford, Jeffrey (2000). "The Symphonies". In Peter Bloom (ed.).
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Berlioz and His Century: An Introduction to the Age of Romanticism
364:
on 11 September 1827, Berlioz fell in love with the Irish actress
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V. "Songe d'une nuit du sabbat" (Dream of a night of the sabbath)
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also found in literary works of the period. It is defined by the
223:). Within each episode, the artist's passion is represented by a
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The Dies irae et Ronde du Sabbat Ensemble section is at bar 414.
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idée qui revient sans cesse à l'esprit, préoccupation obsédante
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at first, then transforming it. More formal statements of the
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major, then chromatically into C major, ending on a C chord.
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2470:, multimedia website with interactive score produced by the
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sufferings of a gifted artist who has poisoned himself with
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clarinet contributes a brighter timbre than the C clarinet.
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in C and G or Piano in triple octaves (used in movement V)
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Audio playback is not supported in your browser. You can
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At bar 21, the tempo changes to Allegro and the metre to
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
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I. "Rêveries – Passions" (Daydreams – passions)
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The opening page of Berlioz's autograph manuscript score
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Structurally the movement derives from the traditional
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and one ophicleide, but switched to two of the latter.
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242:, for actor, soloists, chorus, piano and orchestra.
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Form, Program, and Metaphor in the Music of Berlioz
1911:Hovland, E. (2019, p20) “Who's afraid of Berlioz?”
447:) (in movement III, the first oboist plays briefly
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1902:Cone, p. 24; translation via Microsoft and Google
1813:Cone, p. 22; translation via Microsoft and Google
1683:Cone, p. 30; translation via Microsoft and Google
1674:Cone, p. 20; translation via Microsoft and Google
1504:By the middle of the 20th century the authors of
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1872:The Hector Berlioz Website: Berlioz Music Scores
1533:
1078:IV. "Marche au supplice" (March to the scaffold)
307:, was published in 1845. In it, Berlioz writes:
208:, followed the latter's unusual addition in the
1060:Berlioz salvaged this theme from his abandoned
673:"Marche au supplice" (March to the scaffold) –
651:"Rêveries – Passions" (Daydreams – passions) –
31:Épisode de la vie d'un artiste… en cinq parties
1017:The third movement is a slow movement, marked
940:III. "Scène aux champs" (Scene in the country)
642:, whom Berlioz revered, the symphony has five
303:The first printing of the score, dedicated to
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2489:. A concert-hall dramatized documentary and
2315:Experiencing Berlioz: A Listener's Companion
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667:"Scène aux champs" (Scene in the country) –
411:calls for an orchestra of about 90 players:
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228:
158:
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2312:
2046:(2nd ed.). New York: Meridian Books.
1603:
181:in 1830. The first performance was at the
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2903:Compositions that use extended techniques
2460:International Music Score Library Project
2413:
2394:
2336:. Cambridge: Cambridge University Press.
2234:
2078:
1497:); a rare treat, "a wonderful creation" (
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2220:. New York: Cambridge University Press.
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2181:. New York: Cambridge University Press.
1976:, 29 January 1866, p. 5; and "Musical",
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315:
249:
219:, leading to a grotesque satanic dance (
2479:. A copyright-free LP recording of the
2331:
2256:
2195:
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2148:
2058:
1989:Sackville-West and Shawe-Taylor, p. 120
1932:
1930:
1834:
1707:Oxford Dictionary of National Biography
1609:
2908:Music dedicated to nobility or royalty
2885:
2632:Grande symphonie funèbre et triomphale
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2038:
1898:
1896:
1894:
1884:
1882:
1880:
1809:
1807:
1805:
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2201:Music Ho! A Study of Music in Decline
1719:
295:Berlioz provided his own preface and
2317:. Lanham: Rowman & Littlefield.
2126:
2019:
1927:
1645:Dictionnaire de l'Académie française
1379:derived from the 13th-century Latin
414:
289:Dictionnaire de l'Académie française
188:Berlioz wrote semi-autobiographical
2423:. Oxford: Oxford University Press.
1891:
1877:
1802:
1763:Holoman (1989), pp. 136–137 and 151
1695:
1569:. Berlioz originally wrote for one
1153:. The movement begins with timpani
804:The theme was taken from Berlioz's
13:
2544:
2218:The Cambridge Companion to Berlioz
2179:The Cambridge Companion to Berlioz
2133:Hector Berlioz: Fantastic Symphony
1848:. ugcs.caltech.edu. Archived from
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1084:
946:
821:
694:
627:Title page of the manuscript score
402:
327:, the inspiration for the symphony
16:Program symphony by Hector Berlioz
14:
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2438:
2203:(third ed.). London: Faber.
2110:The Symphony: 1 – Haydn to Dvořák
1565:Modern performances commonly use
1458:, the conservative author of the
1426:, building to a modulation into E
380:, all of which were unanswered.
192:for the piece that allude to the
2870:
2844:
2835:
2834:
2768:
2420:The Symphony: A Listener's Guide
2282:"Hector Berlioz and His Critics"
1842:"Hector Berlioz – Discussion on
1733:, Oxford University Press, 2001
1709:, Oxford University Press, 2004
1238:Problems playing this file? See
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1130:Problems playing this file? See
1103:
992:Problems playing this file? See
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867:Problems playing this file? See
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740:Problems playing this file? See
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2010:
2001:
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1983:
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1347:At bar 80, there is one bar of
631:Following the precedent of the
2399:. London: Grant & Cutler.
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1668:
1659:
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1634:
1583:François-Rene de Chateaubriand
1545:
1260:The introduction is Largo, in
395:, which incorporates the same
349:
1:
2448:on the Hector Berlioz Website
2397:Chateaubriand: Atala and René
2104:(1969). "Hector Berlioz". In
1913:Studia Musicologica Norvegica
1596:
1534:Notes, references and sources
1480:wrote of it approvingly, and
1472:, founder of the influential
2898:Symphonies by Hector Berlioz
1713:UK public library membership
1647:. Retrieved 20 February 2024
1435:
1390:
1313:then returns as a prominent
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1046:
917:
790:
618:
7:
2788:Treatise on Instrumentation
2749:Le Chant des chemins de fer
2562:Music criticism and writing
2511:of the symphony's programme
2158:. London: Faber and Faber.
1610:Brittan, Francesca (2006).
1461:Musikalische Charakterköpfe
911:twice interrupt the waltz.
354:Attending a performance of
245:
10:
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2495:Chicago Symphony Orchestra
2086:. New York: Anchor Books.
2032:
1488:Neue Zeitschrift fĂĽr Musik
1206:Songe d'une nuit du Sabbat
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2613:
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2395:Smethurst, Colin (1995).
2382:. London: Dennis Dobson.
2332:Rodgers, Stephen (2009).
2173:Holoman, D. Kern (2000).
1727:"Berlioz, (Louis-)Hector"
1628:10.1525/ncm.2006.29.3.211
1375:" begins at bar 127, the
1266:diminished seventh chords
884:The second movement is a
368:, who played the role of
284:contemporary medical term
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125:5 December 1830
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2815:La Symphonie fantastique
2313:O'Neal, Melinda (2019).
2177:. In Peter Bloom (ed.).
1980:, 31 December 1865, p. 4
1915:. Vol 45, No. 1, pp9-30.
1874:. Retrieved 26 July 2014
1538:
331:In 1855 Berlioz writes:
2503:at the Internet Archive
2465:Keeping Score: Berlioz
2084:Young People's Concerts
1735:(subscription required)
1703:"Berlioz, Louis Hector"
1448:At the premiere of the
1395:download the audio file
1169:download the audio file
1051:download the audio file
922:download the audio file
795:download the audio file
2679:Grande messe des morts
2472:San Francisco Symphony
2380:On Music and Musicians
2352:Sackville-West, Edward
2242:. London: J. M. Dent.
2066:. London: Hutchinson.
1862:Holoman (2000), p. 177
1754:Holoman (1989), p. 134
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1474:
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1456:Wilhelm Heinrich Riehl
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2722:La Damnation de Faust
2624:Symphonie fantastique
2501:Symphonie fantastique
2481:Symphonie fantastique
2467:Symphonie fantastique
2455:Symphonie fantastique
2446:Symphonie fantastique
1978:New York Daily Herald
1844:Symphonie fantastique
1745:Holoman (1989), p. 54
1528:Symphonie fantastique
1499:New York Daily Herald
1470:François-Joseph Fétis
1451:Symphonie fantastique
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815:II. "Un bal" (A ball)
748:
698:
626:
575:(used in movement II)
548:(used in movement IV)
385:Symphonie fantastique
333:
319:
309:
266:Symphonie fantastique
253:
185:on 5 December 1830.
175:programmatic symphony
25:Symphonie fantastique
2822:Musée Hector-Berlioz
2595:Béatrice et Bénédict
2356:Desmond Shawe-Taylor
2264:. London: Rockliff.
2262:The Sonata Principle
2175:"Performing Berlioz"
2136:. New York: Norton.
1298:. The return of the
811:, composed in 1828.
661:"Un bal" (A ball) –
305:Nicholas I of Russia
95:Nicholas I of Russia
2730:L'Enfance du Christ
2362:. London: Collins.
2112:. London: Penguin.
1656:Cone, pp. 20 and 30
1323:solo at bar 40, in
1224:Orchestre Lamoureux
1116:Orchestre Lamoureux
978:Orchestre Lamoureux
934:Jean-Baptiste Arban
853:Orchestre Lamoureux
726:Orchestre Lamoureux
708:Rêveries – Passions
389:Paris Conservatoire
183:Paris Conservatoire
2741:Songs and cantatas
2698:Other choral works
2415:Steinberg, Michael
2080:Bernstein, Leonard
1731:Grove Music Online
1616:19th-Century Music
1587:vague des passions
1512:Sir Thomas Beecham
1446:
1338:and Allegro. The E
1198:
1098:Marche au supplice
1090:
1074:for four timpani.
952:
827:
754:vague des passions
700:
629:
329:
260:
53:Hector Berlioz by
2913:Works about opium
2893:1830 compositions
2858:
2857:
2648:Roméo et Juliette
2587:Benvenuto Cellini
2430:978-0-19-506177-2
2406:978-0-72-930384-2
2343:978-0-52-188404-4
2324:978-0-8108-8606-3
2286:The Musical Times
2278:Niecks, Frederick
2249:978-0-46-003156-1
2227:978-0-52-159388-5
2197:Lambert, Constant
2188:978-0-52-159388-5
2165:978-0-571-14235-4
2119:978-0-14-020772-9
2093:978-0-38-542435-6
2007:Bernstein, p. 337
1945:Macdonald, p. 243
1711:(subscription or
1516:Leonard Bernstein
1399:
1222:Performed by the
1217:
1173:
1114:Performed by the
1109:
1055:
976:Performed by the
971:
926:
851:Performed by the
846:
799:
724:Performed by the
719:
615:
614:
372:. His biographer
325:Harriett Smithson
154:
153:
149:François Habeneck
2920:
2875:
2874:
2873:
2866:
2848:
2838:
2837:
2772:
2672:Messe solennelle
2664:Liturgical works
2640:Harold en Italie
2579:Les Francs-juges
2539:
2532:
2525:
2516:
2515:
2487:Beyond the Score
2477:European Archive
2458:: Scores at the
2434:
2410:
2391:
2376:Schumann, Robert
2371:
2360:The Record Guide
2347:
2328:
2309:
2292:(448): 272–274.
2273:
2258:Mellers, Wilfrid
2253:
2231:
2212:
2192:
2169:
2150:Holoman, D. Kern
2145:
2123:
2097:
2075:
2055:
2026:
2023:
2017:
2014:
2008:
2005:
1999:
1996:
1990:
1987:
1981:
1974:New York Tribune
1970:
1964:
1963:Schumann, p. 168
1961:
1955:
1954:Schumann, p. 173
1952:
1946:
1943:
1937:
1934:
1925:
1922:
1916:
1909:
1903:
1900:
1889:
1888:Steinberg, p. 65
1886:
1875:
1869:
1863:
1860:
1854:
1853:
1838:
1832:
1831:Steinberg, p. 64
1829:
1823:
1820:
1814:
1811:
1800:
1799:Smethurst, p. 31
1797:
1791:
1788:
1782:
1779:
1773:
1770:
1764:
1761:
1755:
1752:
1746:
1743:
1737:
1736:
1725:Macdonald, Hugh.
1723:
1717:
1716:
1701:Bickley, Diana.
1699:
1693:
1690:
1684:
1681:
1675:
1672:
1666:
1665:Macdonald, p. 46
1663:
1657:
1654:
1648:
1638:
1632:
1631:
1607:
1590:
1580:
1574:
1563:
1557:
1555:
1549:
1520:Constant Lambert
1507:The Record Guide
1495:New York Tribune
1491:
1479:
1463:
1453:
1431:
1430:
1367:
1366:
1365:
1364:
1343:
1342:
1337:
1336:
1335:
1334:
1320:
1319:
1297:
1296:
1295:
1294:
1219:
1218:
1195:
1150:Les francs-juges
1111:
1110:
1087:
1072:striking passage
1063:Messe solennelle
1035:
1034:
1033:
1032:
1010:
973:
972:
960:Scène aux champs
949:
902:
901:
900:
899:
848:
847:
824:
756:
721:
720:
697:
467:
466:
415:
366:Harriet Smithson
268:
232:
221:witches' sabbath
202:Harriet Smithson
162:
132:
130:
104:About 50 minutes
51:
21:
20:
2928:
2927:
2923:
2922:
2921:
2919:
2918:
2917:
2883:
2882:
2881:
2877:Classical music
2871:
2869:
2861:
2859:
2854:
2826:
2802:
2775:
2764:Les Nuits d'été
2736:
2693:
2659:
2615:
2609:
2566:
2548:
2543:
2441:
2431:
2407:
2344:
2325:
2298:10.2307/3355690
2250:
2236:Macdonald, Hugh
2228:
2189:
2166:
2128:Cone, Edward T.
2120:
2094:
2064:A Mingled Chime
2060:Beecham, Thomas
2040:Barzun, Jacques
2035:
2030:
2029:
2025:Mellers, p. 187
2024:
2020:
2016:Lambert, p. 144
2015:
2011:
2006:
2002:
1998:Beecham, p. 183
1997:
1993:
1988:
1984:
1971:
1967:
1962:
1958:
1953:
1949:
1944:
1940:
1935:
1928:
1923:
1919:
1910:
1906:
1901:
1892:
1887:
1878:
1870:
1866:
1861:
1857:
1840:
1839:
1835:
1830:
1826:
1822:Langford, p. 34
1821:
1817:
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1803:
1798:
1794:
1789:
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1776:
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1655:
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1639:
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1608:
1604:
1599:
1594:
1593:
1585:, whose phrase
1581:
1577:
1564:
1560:
1550:
1546:
1541:
1536:
1524:Wilfrid Mellers
1482:Robert Schumann
1438:
1428:
1427:
1424:Ronde du Sabbat
1407:Ronde du Sabbat
1402:
1401:
1400:
1398:
1363:
1358:
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1354:
1340:
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1286:
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1245:
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1234:
1233:
1232:
1231:
1228:Igor Markevitch
1220:
1212:
1209:
1199:
1193:
1188:
1176:
1175:
1174:
1172:
1137:
1136:
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1126:
1125:
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1120:Igor Markevitch
1112:
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1091:
1085:
1080:
1058:
1057:
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1031:
1026:
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1024:
1023:
1022:
1007:ranz des vaches
999:
998:
990:
988:
987:
986:
985:
982:Igor Markevitch
974:
966:
963:
953:
947:
942:
929:
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927:
925:
898:
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892:
891:
890:
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873:
865:
863:
862:
861:
860:
857:Igor Markevitch
849:
841:
838:
828:
822:
817:
802:
801:
800:
798:
759:
758:
747:
746:
738:
736:
735:
734:
733:
730:Igor Markevitch
722:
714:
711:
701:
695:
690:
682:
621:
616:
561:
535:
518:
471:
464:
463:
452:
435:
405:
403:Instrumentation
352:
323:'s portrait of
297:programme notes
272:programme music
248:
225:recurring theme
190:programme notes
128:
126:
58:
17:
12:
11:
5:
2926:
2916:
2915:
2910:
2905:
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2895:
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2831:
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2777:
2776:
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2611:
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2599:
2591:
2583:
2574:
2572:
2568:
2567:
2565:
2564:
2559:
2553:
2550:
2549:
2546:Hector Berlioz
2542:
2541:
2534:
2527:
2519:
2513:
2512:
2506:
2497:
2484:
2474:
2462:
2451:
2440:
2439:External links
2437:
2436:
2435:
2429:
2411:
2405:
2392:
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2329:
2323:
2310:
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2254:
2248:
2232:
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2187:
2170:
2164:
2146:
2124:
2118:
2106:Robert Simpson
2098:
2092:
2076:
2056:
2034:
2031:
2028:
2027:
2018:
2009:
2000:
1991:
1982:
1965:
1956:
1947:
1938:
1936:Niecks, p. 273
1926:
1924:Barzun, p. 107
1917:
1904:
1890:
1876:
1864:
1855:
1852:on 2015-11-26.
1833:
1824:
1815:
1801:
1792:
1790:Rodgers, p. 87
1783:
1781:Cairns, p. 212
1774:
1765:
1756:
1747:
1738:
1718:
1694:
1692:O'Neal, p. 119
1685:
1676:
1667:
1658:
1649:
1633:
1622:(3): 211–239.
1601:
1600:
1598:
1595:
1592:
1591:
1575:
1558:
1543:
1542:
1540:
1537:
1535:
1532:
1476:Revue musicale
1437:
1434:
1414:
1413:
1410:
1392:
1389:
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1369:
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586:15 2nd violins
584:
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455:
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443:(one doubling
438:
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430:(one doubling
425:
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374:Hugh Macdonald
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270:is a piece of
247:
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179:Hector Berlioz
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41:Hector Berlioz
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2629:
2627:
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2621:
2620:
2618:
2616:and overtures
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2558:
2557:List of works
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2280:(June 1880).
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378:love letters
359:
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344:
336:
334:
330:
321:George Clint
310:
302:
294:
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263:
261:
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237:
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210:
187:
166:
157:
156:
155:
55:Émile Signol
24:
18:
2818:(1942 film)
2603:Les Troyens
2491:performance
1972:"Musical",
1262:common time
1038:cor anglais
774:sonata form
513:ophicleides
445:cor anglais
356:Shakespeare
350:Inspiration
227:called the
177:written by
2887:Categories
2614:Symphonies
2142:1150211779
1597:References
1350:alla breve
1306:at bar 29.
1240:media help
1155:sextuplets
1132:media help
994:media help
869:media help
809:"Herminie"
742:media help
546:snare drum
525:Percussion
129:1830-12-05
91:Dedication
2708:, Op. 14b
2655:Overtures
2493:with the
2368:500373060
2072:470511334
2062:(1959) .
2052:458648636
2042:(1956) .
1715:required)
1466:Purgatory
1436:Reception
1419:col legno
1373:Dies irae
1311:idée fixe
1300:idée fixe
1278:sforzando
1274:pizzicato
1180:idée fixe
1068:idée fixe
909:idée fixe
905:idée fixe
782:idée fixe
778:idée fixe
764:idée fixe
644:movements
640:Beethoven
619:Movements
552:bass drum
507:trombones
458:clarinets
421:Woodwinds
397:idée fixe
280:idée fixe
256:idée fixe
230:idée fixe
206:Beethoven
173:14, is a
145:Conductor
109:Movements
2840:Category
2796:MĂ©moires
2758:cantatas
2732:, Op. 25
2724:, Op. 24
2716:, Op. 18
2689:, Op. 22
2650:, Op. 17
2642:, Op. 16
2634:, Op. 15
2626:, Op. 14
2605:, Op. 29
2597:, Op. 27
2589:, Op. 23
2417:(1995).
2378:(1947).
2358:(1955).
2260:(1957).
2238:(1982).
2199:(1966).
2152:(1989).
2130:(1971).
2082:(1992).
1429:♭
1381:sequence
1341:♭
1321:clarinet
1318:♭
1304:cut time
1270:tremolos
784:begins:
636:Symphony
634:Pastoral
501:trumpets
476:bassoons
468:clarinet
465:♭
449:offstage
246:Overview
217:scaffold
213:Symphony
211:Pastoral
194:romantic
137:Location
117:Premiere
101:Duration
83:Composed
37:Symphony
2807:Related
2766:, Op. 7
2714:Tristia
2687:Te Deum
2681:, Op. 5
2581:, Op. 3
2388:6503404
2306:3355690
2270:2098112
2240:Berlioz
2209:4243993
2155:Berlioz
2108:(ed.).
2033:Sources
1571:serpent
1230:, 1962.
1122:, 1962.
984:, 1962.
859:, 1962.
732:, 1962.
675:G minor
669:F major
663:A major
657:C major
653:C minor
582:violins
580:15 1st
567:Strings
541:cymbals
532:timpani
495:cornets
432:piccolo
370:Ophelia
127: (
2863:Portal
2799:(1865)
2791:(1844)
2571:Operas
2427:
2403:
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1641:"fixe"
1226:under
1118:under
1066:. The
1019:Adagio
980:under
855:under
835:Un bal
728:under
610:
591:violas
428:flutes
361:Hamlet
73:Period
57:, 1832
2850:Audio
2780:Books
2706:LĂ©lio
2302:JSTOR
1567:tubas
1539:Notes
1377:motif
1371:The "
1021:, in
958:III.
886:waltz
879:soul.
597:celli
573:harps
558:bells
489:horns
483:Brass
441:oboes
409:score
393:LĂ©lio
338:LĂ©lio
276:opium
239:LĂ©lio
198:opium
140:Paris
2425:ISBN
2401:ISBN
2384:OCLC
2364:OCLC
2338:ISBN
2319:ISBN
2266:OCLC
2244:ISBN
2222:ISBN
2205:OCLC
2183:ISBN
2160:ISBN
2138:OCLC
2114:ISBN
2088:ISBN
2068:OCLC
2048:OCLC
1309:The
1096:IV.
833:II.
407:The
383:The
282:, a
262:The
254:The
122:Date
112:Five
86:1830
64:Opus
2294:doi
1624:doi
1501:).
1204:V.
888:in
706:I.
638:of
595:11
589:10
358:'s
171:Op.
39:by
2889::
2354:;
2300:.
2290:21
2288:.
2284:.
1929:^
1893:^
1879:^
1804:^
1729:,
1705:,
1643:,
1620:29
1618:.
1614:.
1280:).
1276:,
1272:,
601:9
571:4
530:4
511:2
505:3
499:2
493:2
487:4
474:4
456:2
439:2
426:2
233:.
169:)
68:14
2865::
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2531:t
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1361:8
1331:8
1315:E
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1029:8
996:.
924:.
896:8
871:.
797:.
768:.
744:.
655:/
470:)
462:E
451:)
434:)
165:(
131:)
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