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Berlioz- Symphonie FantastiqueContext
Hector Berlioz
Born in 1803, died 1869
When he was young, he learnt the flageolet (woodwind- like a flute), flute and guitar. He never learnt the
piano, and many believe that this let him stray away from conventional harmony
He was viewed as one of the avant-garde composers of the Romantic period
French Romantic composer- attended medical school before changing his mind and taking up music at the
Paris Conservatoire in 1826. He never became proficient on any instrument.
He was hugely influenced by Beethoven, especially by his symphonic works: Paganini once said that
’Beethoven is dead, and Berlioz alone can revive him’
Berlioz was also a writer, writing musical criticism and other books such as the ‘Treatise on Instrumentation’, a
technical study on Western musical instruments (later edited by Strauss)
He was known for being a hugely detailed music reviewer, and would spend days studying scores and
attending rehearsals before a performance
He was believed to be one of the first composers of programmatic music (which describes art or literature)
In 1827, Berlioz became infatuated with Harriet Smithson, an Irish actress who specialised in Shakespeare. He
became infatuated with Smithson and based his Symphonie Fantastique around her. They were married in
1833.
When his symphony ‘Romeo and Juliet’ was first performed, Richard Wagner was in the audience. Rumour
says that it was one of the key influences for Wagner in becoming a musician and composer
Romantic Period
Focus on ‘freedom of the individual’
Moved away from the strict Classical laws of balance
Increased use of varied colour- new instruments being added, composers trying to get new sounds out of the
orchestra
Alliance between the arts- ‘total artwork’ introduced by Wagner, music, words, scenery and stage movement
became a whole
Growth of the symphonic poem- music tells a story, expresses emotions
Symphony became larger- composers trying to embody the widest possible range of expression
Symphonie Fantastique
Berlioz’s most widely known work, written for a much larger scale than was convention
Fantasy Symphony
Was composed in 1830 and is an important feature of the early Romantic period. Was first performed at the
Paris Conservatoire on 5th December 1930, and was a huge success.
Written at a time of political upheaval in France- revolution had overthrown Louis Phillipe- Berlioz was
optimistic about his career
It was the first of four symphonies that Berlioz composed, and is written for a huge orchestra (Berlioz specified
minimum numbers of players in each section)
Is an example of a program symphony- a symphony which depicts imagery or tell a certain story
Tells the story of an artist with a lively imagination who poisons himself with opium due to hopeless love
Symphonie Fantastique was inspired by Berlioz’s relationship with the Irish actress, Harriet Smithson- it is
viewed by some as a musical expression of his passion for her
The work features the ‘idee fixe’ (idea of fixation)- this is a theme of longing and despair, depicting the passion
of the Romantic movement, in contrasting major key
When the Symphonie Fantastique was first performed, it caused uproar due to its personal nature
Anonymous reviewer: “I accept that this symphony is of an almost inconceivable strangeness, and that the
schoolmasters will no doubt pronounce an anathema on these profanations of the ‘truly beautiful’. But for
anyone who isn’t too concerned about the rules I believe that M. Berlioz, if he carries on in the way he has
begun, will one day be worthy to take his place beside Beethoven.”
First movement- named ‘dreams’
Introduction was originally a song, also written by Berlioz
Only one main theme in the piece- represents how the protagonist is focused on only one woman
Inspired by Beethoven’s Pastoral Symphony- programmatic but still adhered to symphonic structure
Berlioz introduces operatic elements throughout the work- e.g. waltz tune representing ballroom
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