Hector Berlioz - Knowledge

290: 1920: 1124: 2371: 1331: 1604: 406: 1267:– a young woman less than half his age, whose first name was Amélie and whose second, possibly married, name is not recorded. Almost nothing is known of their relationship, which lasted for less than a year. After they ceased to meet, Amélie died, aged only 26. Berlioz was unaware of it until he came across her grave six months later. Cairns hypothesises that the shock of her death prompted him to seek out his first love, Estelle, now a widow aged 67. He called on her in September 1864; she received him kindly, and he visited her in three successive summers; he wrote to her nearly every month for the rest of his life. 1248:– a five-act, five-hour opera – was on too large a scale to be acceptable to the management of the Opéra, and Berlioz's efforts to have it staged there failed. The only way he could find of seeing the work produced was to divide it into two parts: "The Fall of Troy" and "The Trojans at Carthage". The latter, consisting of the final three acts of the original, was presented at the Théâtre‐Lyrique, Paris, in November 1863, but even that truncated version was further truncated: during the run of 22 performances, number after number was cut. The experience demoralised Berlioz, who wrote no more music after this. 974: 1099:. He presented it in Paris in December 1846, but it played to half-empty houses, despite excellent reviews, some from critics not usually well disposed to his music. The highly romantic subject was out of step with the times, and one sympathetic reviewer observed that there was an unbridgeable gap between the composer's conception of art and that of the Paris public. The failure of the piece left Berlioz heavily in debt; he restored his finances the following year with the first of two highly remunerative trips to Russia. His other foreign tours during the rest of the 1840s included Austria, Hungary, 1220: 678:, who was visiting the city, but he found Rome distasteful: "the most stupid and prosaic city I know; it is no place for anyone with head or heart." Nonetheless, Italy had an important influence on his development. He visited many parts of it during his residency in Rome. Macdonald comments that after his time there, Berlioz had "a new colour and glow in his music ... sensuous and vivacious" – derived not from Italian painting, in which he was uninterested, or Italian music, which he despised, but from "the scenery and the sun, and from his acute sense of locale". Macdonald identifies 1403: 1735: 905: 29: 1650:(2014), but it remains the least often produced of the three operas. In 2008, the music critic Michael Quinn called it "an opera overflowing in every way, with musical gold bursting from each curve and crevice ... a score of continually stupendous brilliance and invention" but agreed with the general view of the libretto: "incoherent ... episodic, too epic to be comedy, too ironic for tragedy". Berlioz welcomed Liszt's help in revising the work, streamlining the confusing plot; for his other two operas he wrote his own libretti. 1232: 1353:– the unvaried four- or eight-bar phrase – and introduced new varieties of rhythm to his music. He explained his practice in an 1837 article: accenting weak beats at the expense of the strong, alternating triple and duple groups of notes and using unexpected rhythmic themes independent of the main melody. Macdonald writes that Berlioz was a natural melodist, but that his rhythmic sense led him away from regular phrase lengths; he "spoke naturally in a kind of flexible musical prose, with surprise and contour important elements". 656: 577: 784: 1577:(1839), is still further from the traditional symphonic model. The episodes of Shakespeare's drama are represented in orchestral music, interspersed with expository and narrative sections for voices. Among Berlioz's admirers the work divides opinion. Weingartner called it "a style-less mixture of different forms; not quite oratorio, not quite opera, not quite symphony – fragments of all three, and nothing perfect". Countering accusations of lack of unity in this and other Berlioz works, 1595:, for giant brass and woodwind band (1840), with string parts added later, together with optional chorus. The structure is more conventional than the instrumentation: the first movement is in sonata form, but there are only two other movements, and Berlioz did not adhere to the traditional relationship between the various keys of the piece. Wagner called the symphony "popular in the most ideal sense ... every urchin in a blue blouse would thoroughly understand it". 1496: 10653: 8137: 7134: 194: 8147: 1845:, collecting into one volume all his songs that he chose to preserve. Some of them, such as "Hélène" and "Sara la baigneuse", exist in versions for four voices with accompaniment, and there are others for two or three voices. Berlioz later orchestrated some of the songs originally written with piano accompaniment, and some, such as "Zaïde" and "Le Chasseur danois" were written with alternative piano or orchestral parts. "La Captive", to words by 7144: 10703: 10691: 1849:, exists in six different versions. In its final version (1849) it was described by the Berlioz scholar Tom S. Wotton as like "a miniature symphonic poem". The first version, written at the Villa Medici, had been in fairly regular rhythm, but for his revision Berlioz made the strophic outline less clear-cut, and added optional orchestral parts for the last stanza, which brings the song to a quiet close. 10679: 7068: 1906:. He professed to dislike writing his press pieces, and they undoubtedly took up time that he would have preferred to spend writing music. His excellence as a witty and perceptive critic may have worked to his disadvantage in another way: he became so well known to the French public in that capacity that his stature as a composer became correspondingly more difficult to establish. 10727: 1027:

two concerts in September 1842. An extensive German tour followed: in 1842 and 1843 he gave concerts in twelve German cities. His reception was enthusiastic. The German public was better disposed than the French to his innovative compositions, and his conducting was seen as highly impressive. During the tour he had enjoyable meetings with Mendelssohn and Schumann in

780:(then still a village). On 14 August 1834 their only child, Louis-Clément-Thomas, was born. The first few years of the marriage were happy, although it eventually foundered. Harriet continued to yearn for a career but, as her biographer Peter Raby comments, she never learned to speak French fluently, which seriously limited both her professional and her social life. 10715: 143: – was a success at its premiere but did not enter the regular operatic repertoire. Meeting only occasional success in France as a composer, Berlioz increasingly turned to conducting, in which he gained an international reputation. He was highly regarded in Germany, Britain and Russia both as a composer and as a conductor. To supplement his earnings 1881:(1844) began as a series of articles and remained a standard work on orchestration throughout the 19th century; when Richard Strauss was commissioned to revise it in 1905 he added new material but did not change Berlioz's original text. The revised form remained widely used well into the 20th century; a new English translation was published in 1948. 1043: 1939:, was published during the composer's lifetime. Holoman lists six other French biographies of the composer published in the four decades after his death. Of those who wrote for and against Berlioz's music in the late 19th and early 20th centuries, among the most outspoken were musical amateurs such as the lawyer and diarist 1256:

aware of death as many of his friends and other contemporaries died. He and his son had grown deeply attached to each other, but Louis was a captain in the merchant navy, and was more often than not away from home. Berlioz's physical health was not good, and he was often in pain from an intestinal complaint, possibly

243:, and he later took flute and guitar lessons with local teachers. He never studied the piano, and throughout his life played haltingly at best. He later contended that this was an advantage because it "saved me from the tyranny of keyboard habits, so dangerous to thought, and from the lure of conventional harmonies". 1513: 1512: 1535:

theme is the composer's idealised (and in the last movement caricatured) portrait of Harriet Smithson. Schumann wrote of the work that despite its apparent formlessness, "there is an inherent symmetrical order corresponding to the great dimensions of the work, and this besides the inner connexions of

1344:

Rushton suggests that "Berlioz's way is neither architectural nor developmental, but illustrative". He judges this to be part of a continuing French musical aesthetic, favouring a "decorative" – rather than the German "architectural" – approach to composition. Abstraction and discursiveness are alien

820:

Until the end of 1835 Berlioz had a modest stipend as a laureate of the Prix de Rome. His earnings from composing were neither substantial nor regular, and he supplemented them by writing music criticism for the Parisian press. Macdonald comments that this was activity "at which he excelled but which

719:

Vernet agreed to Berlioz's request to be allowed to leave the Villa Medici before the end of his two-year term. Heeding Vernet's advice that it would be prudent to delay his return to Paris, where the Conservatoire authorities might be less indulgent about his premature ending of his studies, he made

246:

At the age of twelve Berlioz fell in love for the first time. The object of his affections was an eighteen-year-old neighbour, Estelle Dubœuf. He was teased for what was seen as a boyish infatuation, but something of his early passion for Estelle endured all his life. He poured some of his unrequited

102:

The elder son of a provincial physician, Berlioz was expected to follow his father into medicine, and he attended a Parisian medical college before defying his family by taking up music as a profession. His independence of mind and refusal to follow traditional rules and formulas put him at odds with

2117:

and others retained "the embattled conviction of a cause". Nevertheless, Northcott was writing about Davis's "Berlioz Odyssey" of seventeen concerts of Berlioz's music, featuring all the major works, a prospect unimaginable in earlier decades of the century. Northcott concluded, "Berlioz still seems

1999:

as "one of the masterpieces of modern biography". Holoman was responsible for the publication in 1987 of the first thematic catalogue of Berlioz's works; two years later he published a single-volume biography of the composer. Macdonald was appointed in 1967 as the inaugural general editor of the New

1823:

in mixing dramatic action and philosophic reflection. Berlioz, after a brief youthful religious spell, was a lifelong agnostic, but he was not hostile to the Roman Catholic church, and Macdonald calls the "serenely contemplative" end of the work "the nearest Berlioz ever came to a devoutly Christian

556:

I was finishing my cantata when the revolution broke out ... I dashed off the final pages of my orchestral score to the sound of stray bullets coming over the roofs and pattering on the wall outside my window. On the 29th I had finished, and was free to go out and roam about Paris till morning,

2012:

article on the composer. Rushton has published two volumes of analyses of Berlioz's music (1983 and 2001). The critic Rosemary Wilson said of his work, "He has done more than any other writer to explain the uniqueness of Berlioz's musical style without losing a sense of wonder in its originality of

1812:

in 1893 the work was presented as an opera in Italy, Germany, Britain, Russia and the US. The many elements of the work vary from the robust "Hungarian March" near the beginning to the delicate "Dance of the Sylphs", the frenetic "Ride to the Abyss", Méphistophélès' suave and seductive "Song of the

1620:

None of Berlioz's three completed operas were written to commission, and theatre managers were not enthusiastic about staging them. Cairns writes that unlike Meyerbeer, who was rich, influential, and deferred to by opera managements, Berlioz was "an opera composer on sufferance, one who composed on

1364:

have "clear tonal and harmonic implications" but the composer sometimes chose not to harmonise accordingly. Rushton observes that Berlioz's preference for irregular rhythm subverts conventional harmony: "Classic and romantic melody usually implies harmonic motion of some consistency and smoothness;

1255:

and none took place for nearly 30 years. He sold the publishing rights for a large sum, and his last years were financially comfortable; he was able to give up his work as a critic, but he lapsed into depression. As well as losing both his wives, he had lost both his sisters, and he became morbidly

942:

was given again. This time Paganini was present in the audience; he came on to the platform at the end and knelt in homage to Berlioz and kissed his hand. A few days later Berlioz was astonished to receive a cheque from him for 20,000 francs. Paganini's gift enabled Berlioz to pay off Harriet's and

1856:

suggests that Schumann identified why this might be so: the shape of the melodies is, as usual with Berlioz, not straightforward, and to those used to the regular four-bar phrases of French (or German) song this is an obstacle to appreciation. Warrack also comments that the piano parts, though not

1677:

and subsequent travels of the hero. Holoman describes the poetry of the libretto as old fashioned for its day, but effective and at times beautiful. The opera consists of a series of self-contained numbers, but they form a continuous narrative, with the orchestra playing a vital part in expounding

1436:

have found the effect unpleasant. Macdonald has questioned Berlioz's fondness for divided cellos and basses in dense, low chords, but he emphasises that such contentious points are rare compared with "the felicities and masterstrokes" abounding in the scores. Berlioz took instruments hitherto used

1026:

During the 1840s Berlioz spent much of his time making music outside France. He struggled to make money from his concerts in Paris, and learning of the large sums made by promoters from performances of his music in other countries, he resolved to try conducting abroad. He began in Brussels, giving

775:

By 1832 Smithson's career was in decline. She presented a ruinously unsuccessful season, first at the Théâtre-Italien and then at lesser venues, and by March 1833 she was deep in debt. Biographers differ about whether and to what extent Smithson's receptiveness to Berlioz's wooing was motivated by

2074:

Cairns dismisses the article as "an astonishing anthology of all the nonsense that has ever been talked about ", but adds that by the 1960s it seemed a quaint survival from a vanished age. By 1963 Cairns, viewing Berlioz's greatness as firmly established, felt able to advise anyone writing on the

2036:

Because few of Berlioz's works were often performed in the late-19th and early 20th centuries, widely accepted views of his music were based on hearsay rather than on the music itself. Orthodox opinion emphasised supposed technical defects in the music and ascribed to the composer characteristics

1770:

is one such – and most of the Requiem is notable for its restraint. The orchestra does not play at all in the "Quaerens me" section, and what Cairns calls "the apocalyptic armoury" is reserved for special moments of colour and emphasis: "its purpose is not merely spectacular but architectural, to

934:

as a work of exceptional exuberance and verve, deserving a better reception than it received. Holoman adds that the piece was of "surpassing technical difficulty", and that the singers were not especially co-operative. A weak libretto and unsatisfactory staging exacerbated the poor reception. The

479:

and other works. The hall was far from full, and Berlioz lost money. Nevertheless, he was greatly encouraged by the vociferous approval of his performers, and the applause from musicians in the audience, including his Conservatoire professors, the directors of the Opéra and Opéra-Comique, and the

1282:

and Moscow, but far from rejuvenating him, the trip sapped his remaining strength. The concerts were successful, and Berlioz received a warm response from the new generation of Russian composers and the general public, but he returned to Paris visibly unwell. He went to Nice to recuperate in the

1314:

asks "where Berlioz comes in the history of musical forms and what is his progeny". Rushton's answers to these questions are "nowhere" and "none". He cites well-known studies of musical history in which Berlioz is mentioned only in passing or not at all, and suggests that this is partly because

377:

In 1824 Berlioz graduated from medical school, after which he abandoned medicine, to the strong disapproval of his parents. His father suggested law as an alternative profession and refused to countenance music as a career. He reduced and sometimes withheld his son's allowance, and Berlioz went

309:

The horrors of the medical college were mitigated thanks to an ample allowance from his father, which enabled him to take full advantage of the cultural, and particularly musical, life of Paris. Music did not at that time enjoy the prestige of literature in French culture, but Paris nonetheless

1705:

and Verges with an invention of his own, the tiresome and pompous music master Somarone. The action focuses on the sparring between the two leading characters, but the score contains some gentler music, such as the nocturne-duet "Nuit paisible et sereine", the beauty of which, Cairns suggests,

1548:, despite its subtitle "Symphony in four parts with viola principal", is described by the musicologist Mark Evan Bonds as a work traditionally seen as lacking any direct historical antecedent, "a hybrid of symphony and concerto that owes little or nothing to the earlier, lighter genre of the 935:

opera had only four complete performances, three in September 1838 and one in January 1839. Berlioz said that the failure of the piece meant that the doors of the Opéra were closed to him for the rest of his career – which they were, except for a commission to arrange a Weber score in 1841.

1348:

Berlioz's compositional techniques have been strongly criticised and equally strongly defended. It is common ground for critics and defenders that his approach to harmony and musical structure conforms to no established rules; his detractors ascribe this to ignorance, and his proponents to

853:. Although he complained – both privately and sometimes in his articles – that his time would be better spent writing music than in writing music criticism, he was able to indulge himself in attacking his bêtes noires and extolling his enthusiasms. The former included musical pedants, 2372: 1103:

and Germany. After those came the first of his five visits to England; it lasted for more than seven months (November 1847 to July 1848). His reception in London was enthusiastic, but the visit was not a financial success because of mismanagement by his impresario, the conductor

1585:

view it as "a curious, not entirely convincing compromise between symphonic and operatic techniques". Rushton comments that "pronounced unity" is not among the virtues of the work, but he argues that to close one's mind on that account is to miss all that the music has to give.

2090:, the public had heard little of his music until recordings became widely available. Barzun maintained that many myths had grown up about the supposed quirkiness or ineptitude of the music – myths that were dispelled once the works were finally made available for all to hear. 1170:

which was withdrawn after one performance. The opera was presented in Leipzig in 1852 in a revised version prepared by Liszt with Berlioz's approval and was moderately successful. In the early years of the decade Berlioz made numerous appearances in Germany as a conductor.

1086:

Foreign tours featured prominently in Berlioz's life during the 1840s and 1850s. Not only were they highly rewarding both artistically and financially, but he did not have to grapple with the administrative problems of promoting concerts in Paris. Macdonald comments:

1449:. Among the characteristic touches in Berlioz's orchestration singled out by Macdonald are the wind "chattering on repeated notes" for brilliance, or being used to add "sombre colour" to Romeo's arrival at the Capulets' vault, and the "Chœur d'ombres" in 2075:

subject, "Do not keep harping on the 'strangeness' of Berlioz's music; you will no longer carry the reader with you. And do not use phrases like 'genius without talent', 'a certain strain of amateurishness', 'curiously uneven': they have had their day."

2622:

Rosen comments that Berlioz "has his cake and eats it, too, as the sense of the dominant is so strong that it lasts through the substituted tonic, which gives a brightness to the climactic note that would make the 'right' harmonization seem impossibly

5265: 2106:; the work was sung in English with some minor cuts, but its importance was internationally recognised, and led to the world premiere staging of the work uncut and in French, at Covent Garden in 1969, marking the centenary of the composer's death. 2069:

Berlioz, in truth, never did contrive to express what he aimed at in the impeccable manner he desired. His boundless artistic ambition was nourished by no more than a melodic gift of no great amplitude, clumsy harmonic procedures and a pen without

569:, had attracted disapproval from the judges because to highly conservative musicians it "betrayed dangerous tendencies", and for his 1830 offering he carefully modified his natural style to meet official approval. During the same year he wrote the 260:'s simpler treatise on the subject made it clearer to him. He wrote several chamber works as a youth, subsequently destroying the manuscripts, but one theme that remained in his mind reappeared later as the A-flat second subject of the overture to 1962:, who wrote numerous scholarly articles on Berlioz and began the collection and editing of the composer's letters, a process eventually completed in 2016, eighty years after Tiersot's death. In the early 1950s the best-known Berlioz scholar was 2126:

All of Berlioz's major works and most of his minor ones have been commercially recorded. This is a comparatively recent development. In the mid-1950s the international record catalogues listed complete recordings of seven major works: the

2516:, but it clearly left a deep emotional scar, although events showed that he may have had a lucky escape: within five years of marrying Marie, Camille Pleyel left her and publicly denounced her scandalous conduct and persistent infidelity. 896:

in 1840. Neither work brought him much money or artistic fame at the time, but the Requiem held a special place in his affections: "If I were threatened with the destruction of the whole of my works save one, I would crave mercy for the

1319:, a lifelong proponent of Berlioz's music, commented similarly, writing that although, for example, Mozart was a greater composer, his music drew on the works of his predecessors, whereas Berlioz's works were all wholly original: "the 947:

for voices, chorus and orchestra. It was premiered in November 1839 and was so well received that Berlioz and his huge instrumental and vocal forces gave two further performances in rapid succession. Among the audiences was the young

2543:

One reason why his duties as a reviewer took up so much of Berlioz's time was that he approached them with unusual conscientiousness, studying scores in great detail in advance of their performance, and attending rehearsals whenever

1287:

to judge a choral festival. After arriving back in Paris he gradually grew weaker and died at his house in the Rue de Calais on 8 March 1869, at the age of 65. He was buried in Montmartre Cemetery with his two wives, who were

1161:

in London as a member of an international committee judging musical instruments. He returned to London in 1852 and 1853, conducting his own works and others'. He enjoyed consistent success there, with the exception of a revival of

776:

financial considerations; but she accepted him, and in the face of strong opposition from both their families they were married at the British Embassy in Paris on 3 October 1833. The couple lived first in Paris, and later in

1966:, a protégé of Wotton, and, like him, strongly hostile to many of Boschot's conclusions, which they saw as unfairly critical of the composer. Barzun's study was published in 1950. He was accused at the time by the musicologist 1079:). Towards the end of the year he and Harriet separated. Berlioz maintained two households: Harriet remained in Montmartre and he moved in with Recio at her flat in central Paris. His son Louis was sent to a boarding school in 3529: 744:, a popular actor, declaimed the monologues. Through a third party, Berlioz had sent an invitation to Harriet Smithson, who accepted, and was dazzled by the celebrities in the audience. Among the musicians present were Liszt, 396:, which was not performed and survives only in fragments, the best known of which is the overture. In later works he reused parts of the score, such as the "March of the Guards", which he incorporated four years later in the 223:

that he enjoyed geography, especially books about travel, to which his mind would sometimes wander when he was supposed to be studying Latin; the classics nonetheless made an impression on him, and he was moved to tears by

491:

Berlioz's fascination with Shakespeare's plays prompted him to start learning English during 1828, so that he could read them in the original. At around the same time he encountered two further creative inspirations:

2724:

wrote in 1929 that if Berlioz's partisans were to be credited "his music contains a magic that is absent from Bach, a strength and purity that were denied to Wagner, and a subtlety to which Mozart could in no sense

626:

piano manufacturing company. Berlioz made an elaborate plan to kill them both (and her mother, known to him as "l'hippopotame"), and acquired poisons, pistols and a disguise for the purpose. By the time he reached

460:'s touring company. Although at the time Berlioz spoke hardly any English, he was overwhelmed by the plays – the start of a lifelong passion for Shakespeare. He also conceived a passion for Kemble's leading lady, 328:, which thrilled him. He was particularly inspired by Gluck's use of the orchestra to carry the drama along. A later performance of the same work at the Opéra convinced him that his vocation was to be a composer. 2094:

made a similar point in 1955. As more and more Berlioz works became widely available on record, professional musicians and critics, and the musical public, were for the first time able to judge for themselves.

1053:

By this time Berlioz's marriage was failing. Harriet resented his celebrity and her own eclipse, and as Raby puts it, "possessiveness turned to suspicion and jealousy as Berlioz became involved with the singer

5262: 1178:, worked on his book of memoirs, and married Marie Recio, which, he explained to his son, he felt it his duty to do after living with her for so many years. At the end of the year the first performance of 1283:

Mediterranean climate, but fell on rocks by the shore, possibly because of a stroke, and had to return to Paris, where he convalesced for several months. In August 1868, he felt able to travel briefly to

985:, marking the tenth anniversary of the 1830 Revolution, was performed in the open air under the direction of the composer in July 1840. The following year the Opéra commissioned Berlioz to adapt Weber's 1491:

in the first movement and sometimes in others. Some pictorial touches were included in symphonies by Beethoven, Mendelssohn and others, but the symphony was not customarily used to recount a narrative.

1482:

Berlioz wrote four large-scale works he called symphonies, but his conception of the genre differed greatly from the classical pattern of the German tradition. With rare exceptions, such as Beethoven's

631:

on his journey to Paris he thought better of the scheme, abandoned the idea of revenge, and successfully sought permission to return to the Villa Medici. He stayed for a few weeks in Nice and wrote his

2023:

No other composer so controversial as Hector Berlioz. Feelings about the merits of his music are seldom lukewarm; it has always tended to excite either uncritical admiration or unfair disparagement.

2705:"La captive" was so popular during the composer's lifetime that he frequently revised it to meet the particular requirements of a performance. The song developed from what the conductor and academic 1058:". Harriet's health deteriorated, and she took to drinking heavily. Her suspicion about Recio was well founded: the latter became Berlioz's mistress in 1841 and accompanied him on his German tour. 1762:

and Berlioz's teacher Le Sueur all wrote for huge forces on occasion, and in the Requiem and to a lesser degree the Te Deum Berlioz follows them, in his own manner. The Requiem calls for sixteen

2053:

The remarkable inequality of his composition may be explained, in any rate in part, as the work of a vivid imagination striving to explain itself in a tongue which he never perfectly understood.

3503: 2904: 918:

One of Berlioz's main aims in the 1830s was "battering down the doors of the Opéra". In Paris at this period, the musical success that mattered was in the opera house and not the concert hall.

5155: 5109: 5079: 5052: 4060: 3696: 3548: 3518: 3080: 4393: 1838:, a group of six songs, originally for voice and piano but now usually heard in its later orchestrated form. He suppressed some of his early songs, and his last publication, in 1865, was the 282:– it is not certain whether at the first or second attempt – and in late September, aged seventeen, he moved to Paris. At his father's insistence he enrolled at the School of Medicine of the 1091:

The more he travelled the more bitter he became about conditions at home; yet though he contemplated settling abroad – in Dresden, for instance, and in London – he always went back to Paris.

813:. As he foresaw, Paganini found the solo part too reticent – "There's not enough for me to do here; I should be playing all the time" – and the violist at the premiere in November 1834 was 118:, and he pursued her obsessively until she finally accepted him seven years later. Their marriage was happy at first but eventually foundered. Harriet inspired his first major success, the 4628: 190:, in south-eastern France. His parents had five more children, three of whom died in infancy; their surviving daughters, Nanci and Adèle, remained close to Berlioz throughout their lives. 2709:

describes as "a beguiling strophic tune" with guitar or piano accompaniment to "a miniature tone poem with five varied strophes and a coda, significantly greater in length and dimension".

2645:

Holoman does not entirely agree with this analysis, finding the first movement "scarcely a sonata at all, but rather a simpler arch, with the 'false' return at 238–239 as its keystone".

5291: 2534:

Barzun and Evans consider the possibility that Smithson's financial straits may have made her more amenable to Berlioz's approaches; Cairns and Holoman express no opinion on the matter.

4792: 4860: 1514: 351:

of Gluck's operas and making copies of parts of them. By the end of 1822 he felt that his attempts to learn composition needed to be augmented with formal tuition, and he approached

252: 5135: 4688: 4348: 1947:, who wrote what Cairns calls "exaggerated eulogies". Like Strong, Turner was, in the words of the music critic Charles Reid, "unhampered by any excess of technical knowledge". 865:'s operas, and scrupulously refrained from promoting his own compositions. His journalism consisted mainly of music criticism, some of which he collected and published, such as 805:, he asked Berlioz to write him a suitable piece. Berlioz told him that he could not write a brilliantly virtuoso work, and began composing what he called a symphony with viola 5915: 1750:

Berlioz gained a reputation, only partly justified, for liking gigantic orchestral and choral forces. In France there was a tradition of open-air performance, dating from the

1345:

to this tradition, and in operas, and to a large extent in orchestral music, there is little continuous development; instead self-contained numbers or sections are preferred.

3451: 2802: 1428:

wrote that Berlioz invented the modern orchestra. Some of those who recognise Berlioz's mastery of orchestration nonetheless dislike a few of his more extreme effects. The

2041:

called him "a monster ... not a musician at all. He creates the illusion of music by means borrowed from literature and painting". In 1904, in the second edition of

392:. It was performed twice, after which he suppressed the score, which was thought lost until a copy was discovered in 1991. During 1825 and 1826 he wrote his first opera, 10852: 2481:

Barzun suggests that his father might have been more sympathetic but for his mother's zealous religious conviction that all players and artists were doomed to damnation.

314:, and although the piece on offer was by a minor composer, the staging and the magnificent orchestral playing enchanted him. He went to other works at the Opéra and the 618:. Within three weeks of his arrival he went absent without leave: he had learnt that Marie had broken off their engagement and was to marry an older and richer suitor, 1804:, though conceived as a work for the concert hall, did not achieve success in France until it was staged as an opera long after the composer's death. Within a year of 1315:

Berlioz had no models among his predecessors and was a model to none of his successors. "In his works, as in his life, Berlioz was a lone wolf". Forty years earlier,

1203:– The Trojans – writing his own libretto based on Virgil's epic. He worked on it, in between his conducting commitments, for two years. In 1858 he was elected to the 595:

was premiered. Protracted applause followed the performance, and the press reviews expressed both the shock and the pleasure the work had given. Berlioz's biographer

10339: 2503:, whom Berlioz honoured for introducing the Beethoven symphonies to French audiences, but with whom he later fell out over Habeneck's conducting of works by Berlioz. 331:

The dominance of Italian opera in Paris, against which Berlioz later campaigned, was still in the future, and at the opera houses he heard and absorbed the works of

310:

possessed two major opera houses and the country's most important music library. Berlioz took advantage of them all. Within days of arriving in Paris he went to the

1242:

In June 1862 Berlioz's wife died suddenly, aged 48. She was survived by her mother, to whom Berlioz was devoted, and who looked after him for the rest of his life.

286:. He had to fight hard to overcome his revulsion at dissecting bodies, but in deference to his father's wishes, he forced himself to continue his medical studies. 1678:

and commenting on the action. Although the work plays for five hours (including intervals) it is no longer the normal practice to present it across two evenings.

7147: 772:. The concert was such a success that the programme was repeated within the month, but the more immediate consequence was that Berlioz and Smithson finally met. 1943:, who called the composer's music variously "flatulent", "rubbish", and "the work of a tipsy chimpanzee", and, in the pro-Berlioz camp, the poet and journalist 1581:

replied in a single emphatic word. Cairns regards the work as symphonic, albeit "a bold extension" of the genre, but he notes that other Berliozians including

1568:

found it "romantic and picturesque ... Berlioz at his best". In the 21st century Bonds ranks it among the greatest works of its kind in the 19th century.

366:'s operas put together could not stand comparison with even a few bars of those of Gluck, Spontini or Le Sueur. By now he had composed several works including 961:

At the close of the decade Berlioz achieved official recognition in the form of appointment as deputy librarian of the Conservatoire and as an officer of the

2930: 926:

from 1834 until 1837, continually distracted by his increasing activities as a critic and as a promoter of his own symphonic concerts. The Berlioz scholar

1531:(1830), is purely orchestral, and the opening movement is broadly in sonata form, but the work tells a story, graphically and specifically. The recurring 8658: 2098:

A milestone in the reappraisal of Berlioz's reputation came in 1957, when for the first time a professional opera company staged the original version of

1001:

to provide the obligatory ballet music. In the same year he completed settings of six poems by his friend Théophile Gautier, which formed the song cycle

522:'s translation. Beethoven became both an ideal and an obstacle for Berlioz – an inspiring predecessor but a daunting one. Goethe's work was the basis of 1970:

of being excessively partisan, and refusing to admit failings and unevenness in Berlioz's music; more recently he has been credited by the musicologist

1782:. By that time the composer had added to its two choruses a part for massed children's voices, inspired by hearing a choir of 6,500 children singing in 1174:

In 1854 Harriet died. Both Berlioz and their son Louis had been with her shortly before her death. During the year Berlioz completed the composition of

965:. The former was an undemanding post, but not highly paid, and Berlioz remained in need of a reliable income to allow him the leisure for composition. 111:. Opinion was divided for many years between those who thought him an original genius and those who viewed his music as lacking in form and coherence. 2082:

record after the Second World War. In 1950 Barzun made the point that although Berlioz was praised by his artistic peers, including Schumann, Wagner,

8648: 5152: 5106: 5076: 5049: 4049: 3693: 3545: 3515: 3077: 1682:, in Holoman's view, embodies the composer's artistic creed: the union of music and poetry holds "incomparably greater power than either art alone". 219:

of less flexible views. After briefly attending a local school when he was about ten, Berlioz was educated at home by his father. He recalled in his

4390: 2395:

Although baptised "Louis-Hector", he was always known as Hector. His date of birth was officially recorded as 19th Frimaire of the year XII, as the

1115:, which left her almost paralysed. She needed constant nursing, which he paid for. When in Paris he visited her continually, sometimes twice a day. 289: 8039: 4625: 10817: 4567: 4747: 2738:

had been planned for the 1940 Covent Garden season but had to be abandoned because of the outbreak of war. The 1957 production was conducted by

875:(1844). Despite his complaints, Berlioz continued writing music criticism for most of his life, long after he had any financial need to do so. 5288: 4718: 4234: 5339: 425: 4789: 1461:

is a defiantly modern use of brass. Trombones introduce Mephistopheles with three flashing chords or support the gloomy doubts of Narbal in

166:

Berlioz was born on 11 December 1803, the eldest child of Louis Berlioz (1776–1848), a physician, and his wife, Marie-Antoinette Joséphine,

10787: 4857: 4591: 1327:

broke upon the world like some unaccountable effort of spontaneous generation which had dispensed with the machinery of normal parentage".

416:

In August 1826 Berlioz was admitted as a student to the Conservatoire, studying composition under Le Sueur and counterpoint and fugue with

10877: 720:

a leisurely journey back, detouring via La Côte-Saint-André to see his family. He left Rome in May 1832 and arrived in Paris in November.

8183: 1900:

were published posthumously in 1870. Macdonald comments that there are few facets of musical practice of the time untouched in Berlioz's

207:

Berlioz's father, a respected local figure, was a progressively minded doctor credited as the first European to practise and write about

3731: 2109:

In recent decades Berlioz has been widely regarded as a great composer, prone to lapses like any other. In 1999 the composer and critic

9002: 5326:

Sackville-West and Shawe-Taylor, pp. 120–125; Schwann, p. 77; and Clough and Cuming (1952), p. 64; (1953), p. 32; and (1957), pp. 66–67

2926: 2153:

Recordings conducted by Colin Davis are prominent in the Berlioz discography, some studio-made and others recorded live. The first was

103:

the conservative musical establishment of Paris. He briefly moderated his style sufficiently to win France's premier music prize – the

5132: 4685: 4345: 1875:

Berlioz's literary output was considerable and mostly consists of music criticism. Some was collected and published in book form. His

1798:, described by Berlioz as "en style énorme", was played several times at the 1855 exhibition, but has subsequently remained a rarity. 10802: 10762: 6770: 4302: 1857:

lacking in harmonic interest, are discernibly written by a non-pianist. Despite that, Warrack considers up to a dozen songs from the

1540:

wrote, "Formally speaking it is among the finest of 19th-century symphonies". The work has always been among Berlioz's most popular.

1349:

independent-minded adventurousness. His approach to rhythm caused perplexity to conservatively-inclined contemporaries; he hated the

6928: 1919: 1591: 892: 10777: 10767: 7180: 6834: 3448: 2799: 2525:

Berlioz's liking for Mendelssohn's music was not reciprocated: the latter made no secret of his opinion that Berlioz lacked talent.

4313: 1924: 1638:, seldom staged until the 21st century, when there have been signs of a revival in its fortunes, with its first production at the 471:

The first concert of Berlioz's music took place in May 1828, when his friend Nathan Bloc conducted the premieres of the overtures

468:

calls it "emotional derangement" – and obsessively pursued her, without success, for several years. She refused even to meet him.

10812: 10782: 7137: 2410: 1995: 1278:. Macdonald suggests that Berlioz may have sought distraction from his grief by going ahead with a planned series of concerts in 9173: 10792: 10772: 5869: 2746:. The opera has subsequently entered the international repertoire. The international database Operabase records productions of 2681: 610:

Shortly after the concert Berlioz set off for Italy: under the terms of the Prix de Rome, winners studied for two years at the

5390: 10872: 10598: 8251: 8044: 6136: 6109: 6087: 6065: 6046: 6024: 6002: 5978: 5959: 5940: 5909: 5885: 5859: 5811: 5789: 5735: 5665: 5642: 5623: 5604: 5576: 5557: 5538: 5508: 5472: 2663:

The prevailing custom would be to end the work in the key in which if began, but the symphony starts in F and ends in B-flat.

1061:

Berlioz returned to Paris in mid-1843. During the following year he wrote two of his most popular short works, the overtures

591:. His feelings were reciprocated, and the couple planned to be married. In December Berlioz organised a concert at which the 1754:, calling for larger ensembles than were needed in the concert hall. Among the generation of French composers ahead of him, 1718:"has wit and grace and lightness of touch. It accepts life as it is. The opera is a divertissement, not a grand statement". 1063: 943:

his own debts, give up music criticism for the time being, and concentrate on composition. He wrote the "dramatic symphony"

10857: 10269: 8287: 2450: 453: 8691: 7067: 6859: 6150: 1870: 1565: 728:

On 9 December 1832 Berlioz presented a concert of his works at the Conservatoire. The programme included the overture of

144: 9096: 2633: 1395:, "famous for its shock to classical sensibilities", in which the melody implies a dominant at its climax resolved by a 952:, who was overwhelmed by its revelation of the possibilities of musical poetry, and who later drew on it when composing 10847: 10807: 10111: 708:"reflect the warmth and stillness of the Mediterranean, as well as its vivacity and force". Berlioz himself wrote that 670:

Berlioz took little pleasure in his time in Rome. His colleagues at the Villa Medici, under their benevolent principal

603:

was among those attending the concert; this was the beginning of a long friendship. Liszt later transcribed the entire

1207:, an honour he had long sought, though he played down the importance he attached to it. In the same year he completed 10842: 8480: 8322: 8203: 8120: 6790: 2352: 634: 9076: 1832:

Berlioz wrote songs throughout his career, but not prolifically. His best-known work in the genre is the song cycle

10832: 10822: 1360:

commented, "There are awkward harmonies in Berlioz that make one scream". In Rushton's analysis, most of Berlioz's

837:. He was the first, but not the last, prominent French composer to double as a reviewer: among his successors were 133:(The Trojans), was so large in scale that it was never staged in its entirety during his lifetime. His last opera, 9071: 8368: 10837: 10613: 8777: 8176: 7052: 6854: 2317: 1766:, quadruple woodwind and twelve horns, but the moments when the full orchestral sound is unleashed are few – the 1301: 997: 429: 239:

Music did not feature prominently in the young Berlioz's education. His father gave him basic instruction on the

9132: 8782: 8556: 2575:

Berlioz assembled an orchestra of 160 players, three soloists and a chorus of 98 singers for the vocal sections.

2004:; 26 volumes were issued between 1967 and 2006 under his editorship. He is also one of the editors of Berlioz's 938:

Shortly after the failure of the opera, Berlioz had a great success as composer-conductor of a concert at which

8872: 8302: 8279: 5825: 4341: 2693: 10136: 7599: 6944: 1573: 1263:

After the death of his second wife, Berlioz had two romantic interludes. During 1862 he met – probably in the

692: 236:. Later he studied philosophy, rhetoric, and – because his father planned a medical career for him – anatomy. 89: 10827: 10637: 10621: 10538: 10056: 9168: 9122: 5988: 1986: 1779: 1186: 788: 599:

calls the concert a landmark not only in the composer's career but in the evolution of the modern orchestra.

465: 424:, and was eliminated in the first round. The following year, to earn some money, he joined the chorus at the 10867: 8023: 2259:. The discography of the British Hector Berlioz website lists 96 recordings, from the pioneering version by 638:

overture. On the way back to Rome he began work on a piece for narrator, solo voices, chorus and orchestra,

10161: 9531: 8312: 7879: 7173: 6827: 6780: 1143:, completed in 1849 but not published until 1855, and some short pieces. His most substantial work between 8608: 7269: 6891: 2382: 2078:

One important reason for the steep rise in Berlioz's reputation and popularity is the introduction of the

1687: 1552:". In the 20th century critical opinion varied about the work, even among those well-disposed to Berlioz. 1336: 1123: 704: 587:

By now recoiling from his obsession with Smithson, Berlioz fell in love with a nineteen-year-old pianist,

358:

In August 1823 Berlioz made the first of many contributions to the musical press: a letter to the journal

336: 279: 83: 10409: 10224: 10066: 8378: 8327: 8082: 7085: 7046: 6952: 6581: 5899: 1877: 1663:

as "incontestably Berlioz's masterpiece", a view shared by many other writers. Berlioz based the text on

1365:

Berlioz's aspiration to musical prose tends to resist such consistency." The pianist and musical analyst

1224: 871: 149: 10344: 8673: 3526: 3500: 1369:

has written that Berlioz often sets the climax of his melodies in relief with the most emphatic chord a

355:, director of the Royal Chapel and professor at the Conservatoire, who accepted him as a private pupil. 10669: 10046: 9275: 8787: 8169: 8127: 7369: 7324: 7198: 6969: 5745: 2566:

According to one currency comparison site, an estimated modern equivalent of the sum is about €170,000.

2396: 1556:, an early 20th-century champion of the composer, wrote in 1904 that it did not reach the level of the 1484: 1330: 857:

writing and singing, viola players who were merely incompetent violinists, inane libretti, and baroque

509: 505: 501: 497: 388: 10354: 9020: 8797: 6766: 4564: 2221: 1647: 1437:

for special purposes and introduced them into his regular orchestra: Macdonald mentions the harp, the

1356:

Berlioz's approach to harmony and counterpoint was idiosyncratic, and has provoked adverse criticism.

1182:

was warmly received, to his surprise. He spent much of the next year in conducting and writing prose.

153:(1844), which was influential in the 19th and 20th centuries. Berlioz died in Paris at the age of 65. 10797: 10593: 9993: 9944: 8244: 7946: 7264: 6883: 5590: 4744: 2288: 2272: 1626: 1015:, but made little progress. In November 1841 he began publishing a series of sixteen articles in the 910: 686: 71: 10274: 9431: 9153: 1759: 1487:, a symphony was taken to be a large‐scale wholly orchestral work, usually in four movements, using 352: 10492: 10314: 10204: 10194: 10131: 9897: 9582: 8643: 8373: 7854: 7679: 7112: 6786: 6776: 6640:

Rushton, Julian (1982–1983). "Berlioz's Swan-Song: Towards a Criticism of 'Béatrice et Bénédict'".

4715: 4231: 1993:

in 1969, and published a two-volume, 1500-page study of the composer (1989 and 1999), described in

179: 20: 10071: 9361: 5336: 2490:

Louis Berlioz had relented enough to send his son a substantial sum to cover some of the expenses.

10747: 10264: 10121: 10026: 9882: 9311: 8927: 8317: 8140: 7749: 7166: 7060: 6820: 2750:

in Dresden, Frankfurt, Hamburg, Nuremberg, Paris, St Petersburg and Vienna between 2017 and 2020.

2610: 2414:; other writers, including Jacques Barzun and Hugh Macdonald, refer to her as "Marie-Antoinette". 2197: 1940: 1834: 1003: 9137: 8837: 7459: 7119: 4584: 2468: 2292: 324: 171: 10862: 10683: 10603: 10558: 10553: 10249: 10141: 10041: 9552: 9326: 9265: 8882: 8653: 8150: 8092: 8067: 7899: 7474: 7219: 7026: 1958:(three volumes, 1906–1913). His successors were Tom S. Wotton, author of a 1935 biography, and 1783: 1697: 1643: 1399:, but in which Berlioz anticipates the resolution by putting a tonic under the climactic note. 1153: 801:, which he wanted to play in public if he could find the right music. Greatly impressed by the 615: 548:

of 1830, but when it broke out he found himself in the middle of it. He recorded events in his

420:. In the same year he made the first of four attempts to win France's premier music prize, the 344: 139: 108: 65: 9928: 9801: 9587: 9511: 9396: 8822: 7930: 7769: 7644: 7634: 7399: 2462: 1936: 10608: 10573: 10563: 10497: 10324: 10299: 10259: 10209: 10106: 9959: 9806: 9618: 9475: 9416: 9250: 9245: 9199: 9127: 9066: 8952: 8711: 8358: 8307: 8284: 7689: 7569: 7524: 7504: 7419: 7018: 6920: 6146: 5586: 3728: 1978: 1722: 1561: 1527: 1504: 1432:

for trombones in the "Hostias" section of the Requiem is often cited; some musicians such as

1412: 1105: 596: 532: 398: 216: 95: 49: 9163: 8638: 8623: 7464: 7093: 4838: 3622: 1695:. He described it as "a caprice written with the point of a needle". His libretto, based on 1374: 10757: 10752: 10656: 10229: 9791: 9678: 9603: 9316: 9280: 8982: 8962: 8716: 8403: 8343: 8237: 8104: 8050: 7889: 7344: 7254: 3511: 1549: 1158: 862: 745: 493: 248: 10329: 10146: 9381: 9158: 9015: 8736: 8701: 7849: 4299: 2892: 2500: 757: 362:

defending French opera against the incursions of its Italian rival. He contended that all

8: 10588: 10447: 10151: 10036: 9877: 9260: 9255: 9091: 8832: 8767: 8383: 8099: 8017: 7719: 7554: 6128: 5821: 3496: 2673: 2276: 2079: 2046: 1264: 1236: 1111:

Soon after Berlioz's return to Paris in mid-September 1848, Harriet suffered a series of

283: 257: 147:

throughout much of his career; some of it has been preserved in book form, including his

10239: 9755: 9572: 9112: 9050: 8897: 8726: 7694: 7494: 7484: 7329: 2613:. It is uncertain how much contact they were able to have with Berlioz during his visit. 749: 519: 485: 10644: 10364: 10126: 10116: 10001: 9892: 9786: 9628: 9577: 9490: 9386: 9356: 9346: 9194: 8992: 8681: 8573: 8514: 8292: 8012: 7859: 7794: 7699: 7629: 7614: 7594: 7449: 7299: 6744: 6716: 6688: 6657: 6625: 6601: 6566: 6534: 6514: 6475: 6443: 6411: 6376: 6344: 6312: 6276: 5992: 5874: 5845: 5770: 4310: 1974:

with playing a major part in improving the climate of musical opinion towards Berlioz.

1971: 1734: 1639: 1257: 1204: 954: 922:

commented, "To the French, music by itself means nothing". Berlioz worked on his opera

332: 175: 9526: 9406: 8603: 7804: 6232: 5313:

Allison, John. "Davis and the LSO embark on their year-long journey through Berlioz",

3537: 2057:

By the 1950s the critical climate was changing, although in 1954 the fifth edition of

10578: 10548: 10512: 10457: 10379: 10309: 10234: 10171: 10076: 10061: 10031: 9872: 9847: 9821: 9760: 9750: 9648: 9643: 9638: 9633: 9301: 9270: 9214: 9209: 9025: 9010: 8932: 8817: 8762: 8686: 8598: 8551: 8454: 8444: 8408: 8274: 8192: 8146: 8029: 7909: 7894: 7834: 7814: 7774: 7759: 7739: 7674: 7664: 7659: 7654: 7639: 7624: 7619: 7394: 7389: 7294: 7010: 6983: 6975: 6238: 6228: 6216: 6192: 6175: 6158: 6132: 6105: 6083: 6061: 6042: 6020: 6012: 5998: 5974: 5955: 5936: 5905: 5881: 5855: 5849: 5833: 5807: 5785: 5753: 5731: 5714: 5697: 5680: 5661: 5638: 5619: 5600: 5572: 5553: 5534: 5504: 5487: 5468: 5461: 5444: 5424: 5372: 5364: 4813: 2920: 2720: 2706: 2606: 2598: 2103: 2087: 1778:, composed in 1849 and first heard in 1855, when it was given in connection with the 1751: 1739: 1631: 1578: 1553: 1231: 1167: 1140: 1036: 1007:(with piano accompaniment, later orchestrated). He also worked on a projected opera, 879: 869:(1854), but also more technical articles, such as those that formed the basis of his 675: 514: 363: 298: 60: 33: 9918: 9913: 9796: 8633: 8583: 7364: 2739: 2260: 2233: 987: 842: 814: 114:

At the age of twenty-four Berlioz fell in love with the Irish Shakespearean actress

10719: 10184: 10081: 10006: 9923: 9887: 9765: 9740: 9735: 9436: 9426: 9421: 9411: 9401: 9376: 9306: 9229: 9204: 8772: 8721: 8618: 8459: 8449: 8432: 8393: 8388: 8363: 8034: 7986: 7874: 7829: 7824: 7764: 7579: 7534: 7379: 7349: 7319: 7259: 6936: 6875: 6736: 6708: 6680: 6649: 6593: 6558: 6526: 6499: 6467: 6435: 6403: 6368: 6336: 6304: 6268: 6124: 5777: 5765: 5526: 5486:. David Cairns (translator and editor). London: Readers Union and Victor Gollancz. 5387: 2677: 2323: 2264: 2209: 2201: 2157:

in 1960 and the last the Requiem in 2012. In between there were five recordings of

1944: 1603: 1544: 1537: 1525:

All four of Berlioz's symphonies differ from the contemporary norm. The first, the

1420:

Even among those unsympathetic to his music, few deny that Berlioz was a master of

1382: 962: 680: 530:

1), which premiered the following year and was reworked and expanded much later as

461: 448: 409: 340: 262: 247:

feelings into his early attempts at composition. Trying to master harmony, he read

115: 55: 10359: 10349: 9567: 9341: 9178: 8842: 8520: 7709: 7414: 5530: 3465: 2816: 2408:

Cairns uses "Josephine" as Mme Berlioz's usual name, as does Diana Bickley in the

1621:

borrowed time paid for with money that was not his but lent by a wealthy friend".

1012: 838: 315: 10583: 10568: 10543: 10467: 10399: 10394: 10389: 10304: 10289: 10244: 10179: 10051: 10021: 9867: 9862: 9745: 9668: 9658: 9608: 9516: 9391: 9285: 9224: 9219: 9086: 9030: 8947: 8937: 8757: 8741: 8696: 8663: 8536: 8486: 8424: 8413: 8087: 7981: 7976: 7956: 7951: 7925: 7839: 7789: 7714: 7684: 7649: 7609: 7339: 7334: 7304: 7244: 5895: 5394: 5343: 5300: 5295: 5284: 5269: 5159: 5139: 5113: 5083: 5056: 4864: 4796: 4751: 4722: 4692: 4632: 4595: 4571: 4397: 4352: 4317: 4306: 4238: 4064: 3735: 3700: 3552: 3533: 3522: 3507: 3455: 3084: 2806: 2685: 2456: 2430: 2365: 2110: 1982: 1951: 1805: 1755: 1635: 1582: 1425: 1219: 1139:, Berlioz spent less time on composition during the next eight years. He wrote a 1128: 927: 919: 753: 545: 193: 9964: 8902: 8297: 7549: 7434: 6616:

O'Neal, Melinda (November 2002). "Berlioz Vocal Works: Some Programming Ideas".

6503: 2425: 2083: 904: 664: 275: 10507: 10477: 10442: 10432: 10414: 10319: 10279: 10214: 10086: 10016: 9857: 9842: 9770: 9714: 9704: 9673: 9653: 9485: 9465: 9450: 9371: 9331: 9035: 8987: 8917: 8812: 8792: 8731: 8628: 8492: 8418: 8218: 8077: 7991: 7884: 7869: 7844: 7784: 7779: 7744: 7604: 7584: 7574: 7529: 7509: 7489: 7469: 7454: 7444: 7429: 7409: 7314: 7239: 7229: 7189: 6798:, comprehensive Berlioz reference site, including scores, analysis and libretti 6458:

Holoman, D. Kern (January–June 1975). "The Present State of Berlioz Research".

6097: 5594: 5436: 5416: 2735: 2594: 2444: 2284: 2280: 2268: 2241: 2225: 2193: 2091: 2038: 1963: 1959: 1316: 1311: 949: 850: 761: 741: 619: 457: 44: 10522: 10091: 9117: 9081: 8892: 7374: 6597: 6407: 6204: 2062: 2001: 973: 405: 339:, other operas written in the French style by foreign composers, particularly 183: 10741: 10707: 10517: 10482: 10472: 10452: 10384: 10334: 10199: 10189: 9974: 9949: 9837: 9811: 9699: 9480: 9351: 8957: 8887: 8862: 8852: 8807: 8507: 7864: 7799: 7734: 7589: 7544: 7289: 7284: 7279: 7224: 6653: 6242: 6220: 6196: 6162: 6075: 5837: 5718: 5701: 5684: 5491: 5448: 5428: 5045: 4227: 3431:

Barzun, p. 133; p. 2; Cairns (1999); Evans, p. 29; and Holoman (1989), p. 136

2597:. His admirers among the other Russian composers of that generation included 2245: 2237: 1465:. With a hiss of cymbals, pianissimo, they mark the entry of the Cardinal in 1442: 1421: 1402: 1396: 1378: 1370: 1366: 1357: 1279: 887: 671: 623: 9709: 6327:

Cairns, David (August 1963). "Berlioz and Criticism: Some Surviving Dodos".

6179: 5463:

Music Analysis in the Nineteenth Century, Volume II – Hermeneutic Approaches

4867:, Melbourne Symphony Orchestra, 24 February 2015. Retrieved 19 October 2018. 2557:, having by this time retired from public performance because of ill health. 1852:

The songs remain on the whole among the least known of Berlioz's works, and

10731: 10695: 10487: 10462: 10437: 10404: 10374: 10294: 10254: 10156: 10101: 10011: 9979: 9969: 9954: 9694: 9557: 9547: 9521: 9366: 9321: 9045: 8977: 8967: 8907: 8857: 8802: 8613: 8531: 8502: 8353: 7809: 7729: 7724: 7704: 7669: 7519: 7514: 7499: 7479: 7439: 7424: 7404: 7234: 7214: 6740: 6672: 6549:

Macdonald, Hugh (March 1969). "Berlioz's Orchestration: Human or Divine?".

6034: 2689: 2636:

for a section of its 2003–2004 exhibition "Berlioz: la voix du romantisme".

2249: 1853: 1791: 1691:(1862), written, the composer said, as a relaxation after his efforts with 1433: 1275: 858: 795: 660: 611: 588: 580: 481: 421: 417: 104: 9852: 7354: 6712: 5757: 5376: 5368: 4817: 2602: 1774:

What Macdonald calls Berlioz's monumental manner is more prominent in the

10502: 10369: 10219: 9816: 9719: 9663: 9470: 9336: 9040: 8972: 8706: 8567: 8526: 8475: 8348: 8260: 8213: 8072: 7819: 7754: 7559: 7539: 7384: 7359: 6899: 6391: 5518: 3449:"Smithson (married name Berlioz), Harriet Constance (1800–1854), actress" 2743: 2229: 2114: 1967: 1902: 1846: 1809: 1726:, although not written for the theatre, is sometimes staged as an opera. 1655: 1608: 1488: 1438: 1429: 1055: 1046: 769: 765: 698: 600: 527: 437: 348: 311: 294: 208: 77: 47:

composer and conductor. His output includes orchestral works such as the

6629: 6530: 696:

as the most obvious expressions of his response to Italy, and adds that

9623: 8942: 8922: 8912: 8561: 8398: 7961: 7564: 6380: 5799: 5653: 3236:

Berlioz, p. 104; Cairns (2000), p. 263; and Holoman (1989), pp. 185–186

2008:, and author of a 1978 study of Berlioz's orchestral music, and of the 1660: 1289: 992: 854: 846: 777: 6807: 6748: 6720: 6692: 6661: 6605: 6570: 6538: 6479: 6447: 6415: 6348: 6316: 6280: 5781: 1841: 544:

Berlioz was largely apolitical, and neither supported nor opposed the

428:. He competed again for the Prix de Rome, submitting the first of his 28: 10284: 9613: 9495: 8827: 8546: 7904: 7309: 7249: 6259:

Bloom, Peter (July–December 1981). "Berlioz à l'Institut Revisited".

6208: 5931:

Holoman, D. Kern (2000). "Performing Berlioz". In Peter Bloom (ed.).

3541: 1767: 1407: 1387: 1189:, encouraged Berlioz's tentative conception of an opera based on the 806: 240: 8161: 6372: 2632:

Strauss's phrase "inventor of the modern orchestra" was used by the

2150:

were available but there were no complete recordings of the operas.

2146:, the Requiem and the Te Deum, and various overtures. Excerpts from 1813:

Devil", and Brander's "Song of a Rat", a requiem for a dead rodent.

576: 10424: 7996: 6684: 6562: 6517:(January 1969). "The Berlioz-Strauss Treatise on Instrumentation". 6471: 6439: 6340: 6308: 6272: 5456: 1702: 1416:: the players tap their strings with the wooden backs of their bows 1385:. He gives as an example the second phrase of the main theme – the 1284: 861:. He extravagantly praised Beethoven's symphonies, and Gluck's and 565:, with which he won the Prix de Rome. His entry the previous year, 212: 7002: 6145: 5421:

Berlioz and His Century: An Introduction to the Age of Romanticism

1771:

clarify the musical structure and open up multiple perspectives."

1195:. Having first completed the orchestration of his 1841 song cycle 783: 640: 187: 10096: 8847: 8438: 7971: 7158: 6812: 6703:

Wright Roberts, William (January 1926). "Berlioz the Critic. I".

6291:

Bonds, Mark Evan (Autumn 1992). "Sinfonia anti-eroica: Berlioz's

1787: 1763: 1743: 1446: 1112: 1100: 1032: 1028: 1019:

giving his views about orchestration; they were the basis of his

713: 6731:

Wright Roberts, William (April 1926). "Berlioz the Critic. II".

5802:(2000). "The operas and dramatic legend". In Peter Bloom (ed.). 2672:

Others who describe the work as "Berlioz's masterpiece" include

1884:

Other selections from Berlioz's press columns were published in

1624:

The three operas contrast strongly with one another. The first,

1157:(Christ's Childhood), which he began in 1850. In 1851 he was at 890:

in December 1837. A second government commission followed – the

878:

Berlioz secured a commission from the French government for his

655: 8541: 6490:

Holoman, D. Kern (Fall 2001 – Spring 2002). "Berlioz, Lately".

6359:

Clark, Robert S (Winter 1973–1974). "Berlioz and His Trojans".

2654:"Ça manque d'unité, vous répond-on! – Moi je réponds: 'Merde!'" 2553:

Despite his admiration, Paganini never played the solo part in

1701:, omits Shakespeare's darker sub-plots and replaces the clowns 1669: 1664: 1457:

Brass can be solemn or brazen; the "Marche au supplice" in the

1361: 1271: 1191: 1185:

During Berlioz's German tour in 1856, Liszt and his companion,

442: 233: 225: 8229: 7143: 6801: 5851:

The Quiet Showman: Sir David Webster and the Royal Opera House

2332: 1042: 6584:(1998). "La critique musicale 1823–1863, Vol. I: 1823–1834". 1080: 798: 512:

symphonies performed at the Conservatoire, and read Goethe's

319: 87:, and works of hybrid genres such as the "dramatic symphony" 10690: 5764: 5166:, Oxford University Press, 2001. Retrieved 19 October 2018. 5120:, Oxford University Press, 2001. Retrieved 19 October 2018. 5090:, Oxford University Press, 2001. Retrieved 19 October 2018. 5063:, Oxford University Press, 2001. Retrieved 19 October 2018. 4699:, Oxford University Press, 2013. Retrieved 19 October 2018. 4359:, Oxford University Press, 2013. Retrieved 19 October 2018. 4056:, Oxford University Press, 2002. Retrieved 19 October 2018. 3707:, Oxford University Press, 2001. Retrieved 19 October 2018. 3629:, Oxford University Press, 1992. Retrieved 18 October 2018. 3559:, Oxford University Press, 2001. Retrieved 19 October 2018. 3462:, Oxford University Press, 2008. Retrieved 19 October 2018. 3091:, Oxford University Press, 2001. Retrieved 19 October 2018. 2899:, Oxford University Press, 2001. Retrieved 18 October 2018. 2813:, Oxford University Press, 2004. Retrieved 19 October 2018. 1495: 343:, and above all five operas by Gluck. He began to visit the 122:, in which an idealised depiction of her occurs throughout. 8497: 7966: 6795: 6787:

Finding aid to Hector Berlioz papers at Columbia University

4845:, Oxford University Press 2002. Retrieved 18 October 2018. 2341: 2338: 1989:

and Julian Rushton. Cairns translated and edited Berlioz's

1923:

This caricature of the quintessential romantic musician by

1861:

well worth exploring – "Among them are some masterpieces."

1674: 1270:

In 1867 Berlioz received the news that his son had died in

628: 229: 107:– in 1830, but he learned little from the academics of the 1950:

Serious studies of Berlioz in the 20th century began with

712:

drew on "the poetic memories formed from my wanderings in

3227:

Holoman (1989), p. 51; and Cairns (2000), pp. 277 and 279

1977:

Since Barzun, the leading Berlioz scholars have included

1685:

The last of Berlioz's operas is the Shakespearean comedy

4858:"A listener's guide to Berlioz's The Damnation of Faust" 4812:

Cairns, David (2013). Notes to LSO Live CD set LSO0729D

4391:"Symphony guide: Hector Berlioz's Symphonie Fantastique" 995:

to replace the spoken dialogue and orchestrated Weber's

6189:

The Duality of Vision: Genius and Versality in the Arts

794:

Paganini, known chiefly as a violinist, had acquired a

318:; at the former, three weeks after his arrival, he saw 6082:. Cambridge, Massachusetts: Harvard University Press. 5635:

Berlioz – Volume 2: Servitude and Greatness, 1832–1869

5616:

Berlioz – Volume 1: The Making of an Artist, 1803–1832

4263:

Holoman (1989), p. 169; and Rushton (1983) pp. 127–128

4120:

Holoman (1989), p. 587; and Cairns (1999), pp. 761–762

436:, in July. Later that year he attended productions of 10667: 5872:(2000). "Hector Berlioz". In Earl of Harewood (ed.). 4912:

Rushton (2001), pp. 53–54; and Holoman (1898), p. 242

4758:, 19 February 1960, p. 16. Retrieved 18 October 2018. 2353: 2344: 1909: 1211:. He then spent five years trying to have it staged. 674:, made him welcome, and he enjoyed his meetings with 5748:(1957) . "Hector Berlioz". In A. L Bacharach (ed.). 4725:, Hyperion Records, 2012. Retrieved 19 October 2018. 2335: 2329: 1929:

Jérôme Paturot à la recherche d'une position sociale

1340:

overture, showing characteristic rhythmic variations

347:

library in between his medical studies, seeking out

125:

Berlioz completed three operas, the first of which,

43:(11 December 1803 – 8 March 1869) was a French 6213:

Grove's Dictionary of Music and Musicians, Volume 1

5830:

Grove's Dictionary of Music and Musicians, Volume 1

5397:, Hector Berlioz website. Retrieved 10 October 2018 5346:, Hector Berlioz website. Retrieved 10 October 2018 4839:"Damnation de Faust, La ('The Damnation of Faust')" 2326: 2283:to more recent versions including those of Boulez, 2255:By far the most recorded of Berlioz's works is the 1790:for double chorus and large orchestra in honour of 381: 10853:Honorary members of the Royal Philharmonic Society 5873: 5769: 5711:World's Encyclopedia of Recorded Music: Supplement 5708: 5694:World's Encyclopedia of Recorded Music: Supplement 5691: 5674: 5460: 1616:) at the Théâtre de l'Opéra-Comique-Châtelet, 1892 914:, September 1838. Berlioz's name is not mentioned. 16:French Romantic composer and conductor (1803–1869) 6426:Elliot, J. H. (July 1929). "The Berlioz Enigma". 4413:Cairns (1999), p. 559; and Holoman (1989), p. 107 3945:Holoman (1989), pp. 447–449, 450–453, and 457–460 3816:Cairns (1999), p. 235; and Holoman (1989), p. 282 3738:, Historical Statistics. Retrieved 6 October 2018 991:to meet the house's rigid requirements: he wrote 374:(The Crossing of the Red Sea) – both since lost. 256:, which proved incomprehensible to a novice, but 10739: 4587:, Gramophone, 2008 . Retrieved 19 October 2018. 4044: 4042: 4040: 2298: 1469:and the blessing of little Astyanax by Priam in 1381:where the melody leads the listener to expect a 137: – based on Shakespeare's comedy 129:, was an outright failure. The second, the epic 5142:, Bärenreiter-Verlag. Retrieved 28 October 2018 2929:) CS1 maint: bot: original URL status unknown ( 1118: 736:– extensively revised since its premiere – and 6730: 6702: 5304:, 26 November 1999. Retrieved 19 October 2018. 4950:The Golden Encyclopedia on Music. Golden Press 3054:Bloom (2000), p. xv; and Cairns (2000), p. 101 2118:so immediate, so controversial, so ever-new". 215:with a liberal outlook; his wife was a strict 19:"Berlioz" redirects here. For other uses, see 8245: 8177: 7174: 6828: 4942: 4037: 2499:The Conservatoire concerts were conducted by 968: 269: 6642:Proceedings of the Royal Musical Association 6639: 6489: 6019:. Lanham, Maryland: Rowman and Littlefield. 6017:Experiencing Berlioz: A Listener's Companion 5521:(2000). "Chronology". In Peter Bloom (ed.). 5501:Life and Letters of Hector Berlioz, Volume 2 4784: 4782: 4684:Kennedy, Michael, and Joyce Bourne Kennedy. 4639:, 26 August 2003. Retrieved 19 October 2018. 4626:"Prom 47: Music-making of the highest order" 4500:Chabrier, Emmanuel. Letter of 17 July 1887, 4404:, 19 August 2014. Retrieved 19 October 2018. 607:for piano to enable more people to hear it. 6513: 6295:and the Anxiety of Beethoven's Influence". 6227: 4245:, 26 April 1984. Retrieved 19 October 2018. 1927:was based on Berlioz. Wood engraving from 1659:(1858) is described by the musical scholar 8252: 8238: 8184: 8170: 7181: 7167: 6835: 6821: 6615: 6394:(April 1952). "Barzun's Life of Berlioz". 6358: 6011: 5423:(2nd ed.). New York: Meridian Books. 5105:Holoman (2001), p. 346; and Scott, David. 4803:, 21 July 2000. Retrieved 19 October 2018. 4546:in Sackville-West and Shawe-Taylor, p. 121 3692:Cairns (1999), p. 174; and Neill, Edward. 3443: 3441: 3439: 3437: 2907:. Archived from the original on 1 May 2021 539: 378:through some years of financial hardship. 6771:International Music Score Library Project 6548: 6104:. Cambridge: Cambridge University Press. 5987: 5973:. Cambridge: Cambridge University Press. 5949: 5935:. Cambridge: Cambridge University Press. 5844: 5806:. Cambridge: Cambridge University Press. 5709:Clough, Francis F.; G. G. Cuming (1957). 5692:Clough, Francis F.; G. G. Cuming (1953). 5675:Clough, Francis F.; G. G. Cuming (1952). 5660:. Cambridge: Cambridge University Press. 5571:. Cambridge: Cambridge University Press. 5525:. Cambridge: Cambridge University Press. 5503:. Cambridge: Cambridge University Press. 5467:. Cambridge: Cambridge University Press. 4984: 4982: 4980: 4978: 4976: 4779: 4710: 4708: 4421: 4419: 4337: 4335: 4223: 4221: 4219: 4209: 4207: 3670: 3668: 3018:Barzun, p. 263; and Cairns (1999), p. 769 2512:Berlioz made light of the episode in his 1996:Grove's Dictionary of Music and Musicians 1214: 1095:Berlioz's major work from the decade was 161: 6586:Journal of the Royal Musical Association 5868: 5484:The Memoirs of Hector Berlioz, 1803–1865 5231: 5229: 4530: 4528: 4030: 4028: 3843:Evans, p. 29; and Holoman (1989), p. 288 3834:Holoman (1989), pp. 292, 296–297 and 300 3617: 3615: 3613: 2887: 2885: 2883: 2881: 2879: 2877: 2875: 2873: 2871: 2869: 2867: 2865: 2863: 2861: 2859: 2857: 2855: 2113:wrote that the work of Cairns, Rushton, 1918: 1733: 1602: 1510: 1494: 1401: 1329: 1230: 1218: 1122: 1041: 972: 903: 782: 654: 575: 404: 288: 192: 27: 6671: 6457: 6169: 6118: 6096: 6039:The Oxford Illustrated History of Opera 5952:Sir Thomas Beecham: A Centenary Tribute 5930: 5894: 5776:. New York: Columbia University Press. 5596:The Symphony: Volume 1, Haydn to Dvořák 5498: 5481: 5435: 5179: 5177: 5175: 5101: 5099: 5014: 5012: 4464:Sackville-West and Shawe-Taylor, p. 121 4320:, Bibliothèque nationale de France 2013 4213:Sackville-West and Shawe-Taylor, p. 119 3955: 3953: 3951: 3869: 3867: 3776: 3774: 3525:; Schwartz, Manuela and G. W. Hopkins. 3460:Oxford Dictionary of National Biography 3434: 3418: 3416: 3397: 3395: 3367: 3365: 3339: 3337: 3273: 3271: 3269: 3122: 3120: 3118: 2853: 2851: 2849: 2847: 2845: 2843: 2841: 2839: 2837: 2835: 2811:Oxford Dictionary of National Biography 2742:; the 1969 production was conducted by 2411:Oxford Dictionary of National Biography 2267:in 1928 to those conducted by Beecham, 1706:matches or surpasses the love music in 1589:The last of the four symphonies is the 930:comments that Berlioz rightly regarded 10818:French male dramatists and playwrights 10740: 6930:Grande symphonie funèbre et triomphale 6675:(March 1969). "Berlioz's 'Mélodies'". 6580: 6425: 6326: 6203: 6186: 6033: 5968: 5725: 5677:World's Encyclopedia of Recorded Music 5651: 5632: 5613: 5585: 5415: 5289:"Still so controversial, still so new" 5280: 5278: 5219:Cardus, Neville. "A Note on Berlioz", 4973: 4705: 4416: 4332: 4216: 4204: 3746: 3744: 3665: 3640: 3638: 3355: 3353: 3351: 3349: 3178: 3176: 3174: 3172: 3005: 3003: 2925:: CS1 maint: archived copy as title ( 2593:Berlioz was assisted at rehearsals by 2381: 2016: 893:Grande symphonie funèbre et triomphale 10599:Romanticism and the French Revolution 8233: 8191: 8165: 7162: 6816: 6290: 6258: 6074: 5820: 5752:. Harmondsworth, Middlesex: Penguin. 5744: 5652:Cairns, David (2006) . "Berlioz". In 5599:. Harmondsworth, Middlesex: Penguin. 5550:A History of Music in Western Culture 5547: 5517: 5272:, Operabase. Retrieved 4 October 2018 5226: 4574:, Operabase. Retrieved 9 October 2018 4525: 4275: 4025: 3610: 3571:Wright Roberts (I), pp. 65, 69 and 71 3371:Berlioz, p. 554: note by David Cairns 2794: 2792: 2584:Nanci died in 1850 and Adèle in 1860. 2364: 2192:has received studio recordings under 1888:(Evenings with the Orchestra, 1852), 1571:The "Dramatic Symphony" with chorus, 197:Louis Berlioz, the composer's father 6802:Association Nationale Hector Berlioz 6390: 6055: 5918:from the original on 30 October 2023 5798: 5566: 5455: 5172: 5096: 5009: 4734:Rushton (1982–1983), pp. 106 and 108 4678: 4300:"L'Inventeur de l'orchestre moderne" 3948: 3864: 3771: 3580:Wright Roberts (II), pp. 138 and 140 3413: 3392: 3362: 3334: 3266: 3115: 2832: 1151:(1856–1858) was a "sacred trilogy", 10788:Classical composers of church music 8040:Tchaikovsky and the Belyayev circle 6215:(5th ed.). London: Macmillan. 6123:. Oxford: Oxford University Press. 6041:. Oxford: Oxford University Press. 5832:(2nd ed.). London: Macmillan. 5335:Walker, Malcolm and Brian Godfrey. 5275: 4371:Rushton (1983), pp. 182 and 190–191 3741: 3635: 3346: 3169: 3000: 2102:in a single evening. It was at the 1935:The first biography of Berlioz, by 1871:Hector Berlioz as critic and author 1819:(1850–1854) follows the pattern of 1630:(1838), inspired by the memoirs of 1011:(The Bloody Nun), to a libretto by 829:(1833–1835), and from 1834 for the 723: 644:(The Return to Life, later renamed 13: 7188: 6842: 6791:Rare Book & Manuscript Library 6129:10.1093/oso/9780198166900.001.0001 5933:The Cambridge Companion to Berlioz 5804:The Cambridge Companion to Berlioz 5768:; Hermine Weigel Williams (2003). 5523:The Cambridge Companion to Berlioz 2789: 2216:for CD. Singers who have recorded 1910:Reputation and Berlioz scholarship 1786:during his London trip in 1851. A 1642:(2003) and a co-production by the 1536:thought", and in the 20th century 1251:Berlioz did not seek a revival of 573:and became engaged to be married. 156: 14: 10889: 8204:Allgemeiner Deutscher Musikverein 6804:, French National Berlioz Society 6760: 5728:Hector Berlioz: Rational Romantic 5618:(2nd ed.). London: Penguin. 5552:(4th ed.). Boston: Pearson. 4311:""Berlioz: la voix du romantisme" 3623:"Berlioz, (Louis-)Hector (opera)" 3162:Letter published 12 August 1823, 2188:In addition to Davis's versions, 274:In March 1821 Berlioz passed the 10878:Pupils of Jean-François Le Sueur 10803:French composers of sacred music 10763:19th-century classical composers 10725: 10713: 10701: 10689: 10677: 10652: 10651: 8145: 8136: 8135: 7142: 7133: 7132: 7066: 5954:. London: Macdonald and Jane's. 5880:(11th ed.). London: Ebury. 5713:. London: Sidgwick and Jackson. 5696:. London: Sidgwick and Jackson. 5679:. London: Sidgwick and Jackson. 5381: 5358: 5349: 5337:"Sir Colin Davis: A Discography" 5329: 5320: 5307: 5256: 5247: 5238: 5213: 5204: 5195: 5186: 5145: 5126: 5069: 5039: 5030: 5021: 5000: 4991: 4964: 4955: 4933: 4924: 4915: 4906: 4897: 4888: 4879: 4870: 4851: 4831: 4822: 4806: 4770: 4761: 4737: 4728: 4669: 4660: 4651: 4642: 4618: 4609: 4600: 4577: 4558: 4549: 4537: 4516: 4507: 4494: 4485: 4476: 4467: 4458: 4449: 4440: 4431: 4407: 4383: 4374: 4365: 4323: 4293: 4284: 4266: 4257: 4248: 4195: 4186: 4177: 4168: 4159: 4150: 4141: 4132: 4123: 4114: 4105: 4096: 4087: 4078: 4069: 4016: 4007: 3998: 3989: 3980: 3971: 3962: 3939: 3930: 3921: 3912: 3903: 3894: 3885: 3876: 3855: 3410:Barzun, p. 125; and Evans, p. 28 2728: 2712: 2699: 2666: 2657: 2648: 2639: 2634:Bibliothèque nationale de France 2626: 2616: 2587: 2578: 2322: 2104:Royal Opera House, Covent Garden 1453:. Of Berlioz's brass he writes: 402:as the "March to the Scaffold". 382:1824–1830: Conservatoire student 10778:19th-century French journalists 10768:19th-century conductors (music) 8259: 6237:. Boston and New York: Ditson. 6102:The Musical Language of Berlioz 5569:Music and the French Revolution 3882:Bloom (2000), pp. xviii and xix 3846: 3837: 3828: 3819: 3810: 3801: 3792: 3783: 3762: 3753: 3729:"Historical currency converter" 3722: 3713: 3686: 3677: 3656: 3647: 3601: 3592: 3583: 3574: 3565: 3490: 3481: 3472: 3425: 3404: 3383: 3374: 3325: 3316: 3307: 3298: 3289: 3280: 3257: 3248: 3239: 3230: 3221: 3212: 3203: 3194: 3185: 3156: 3147: 3138: 3129: 3106: 3097: 3066: 3057: 3048: 3039: 3030: 3021: 3012: 2991: 2982: 2973: 2964: 2955: 2946: 2937: 2569: 2560: 2547: 2537: 2528: 2519: 2506: 2493: 2484: 2475: 2436: 2417: 2133:Symphonie funèbre et triomphale 1592:Symphonie funebre et triomphale 1308:The Musical Language of Berlioz 1302:List of works by Hector Berlioz 983:Symphonie funèbre et triomphale 10813:French male conductors (music) 10783:Burials at Montmartre Cemetery 4790:"The Proms raises the titanic" 4697:The Oxford Dictionary of Music 4565:"Statistics: Works by Berlioz" 4357:The Oxford Dictionary of Music 4201:Cairns (1963), pp. 548 and 550 3977:Cairns (1999), pp. 540 and 546 2823: 2780: 2771: 2762: 2402: 2389: 2309: 1808:'s production of the piece at 659:Berlioz when a student at the 59:, choral pieces including the 1: 10793:Conservatoire de Paris alumni 10773:19th-century French composers 10622:Wanderer above the Sea of Fog 6777:Free scores by Hector Berlioz 6207:(1954). "Hector Berlioz". In 6191:. London: Thames and Hudson. 5824:(1904). "Hector Berlioz". In 5589:(1966). "Hector Berlioz". In 5531:10.1017/CCOL9780521593885.001 5027:Dean, pp. 122–123 and 128–129 4952:. New York. 720 pp. (page 66) 4876:Cairns (2000), pp. 94 and 552 4745:"Opera: The Berlioz Question" 4329:Macdonald (1969), pp. 256–257 2756: 2299:Notes, references and sources 2121: 2000:Berlioz Edition published by 1742:, showing the eight pairs of 1477: 1187:Carolyne zu Sayn-Wittgenstein 1049:, later Berlioz's second wife 228:'s account of the tragedy of 198: 10873:Prix de Rome for composition 6808:U.K. Berlioz Society website 6781:Choral Public Domain Library 6234:The Symphony Since Beethoven 5730:. London: Kahn and Averill. 4585:"Berlioz, Benvenuto Cellini" 4344:, and Joyce Bourne Kennedy. 3466:UK public library membership 2817:UK public library membership 1890:Les Grotesques de la musique 1738:Berlioz's manuscript of the 1119:1850s: international success 7: 10858:French male opera composers 8083:Gothic Revival architecture 7086:Treatise on Instrumentation 7047:Le Chant des chemins de fer 6860:Music criticism and writing 6504:10.1525/ncm.2001.25.2-3.337 6251: 6060:. London: Hamish Hamilton. 5904:. London: Faber and Faber. 4192:Rushton (1983), pp. 259–261 3909:Rushton (1983), pp. 288–290 3546:"Debussy, (Achille-)Claude" 3343:Holoman (1989), pp. 115–116 1896:(Through Songs, 1862). His 1878:Treatise on Instrumentation 1827: 1521:, second movement (excerpt) 1292:and re-buried next to him. 1021:Treatise on Instrumentation 908:Poster for the premiere of 872:Treatise on Instrumentation 821:he abhorred". He wrote for 386:In 1824 Berlioz composed a 174:was the family home in the 150:Treatise on Instrumentation 145:he wrote musical journalism 10: 10894: 10539:Coleridge's theory of life 8024:Neue Zeitschrift für Musik 7199:List of Romantic composers 6796:The Hector Berlioz Website 5876:The New Kobbé's Opera Book 5403: 4939:Lockspeiser, pp. 42 and 44 4513:Cairns (1966), pp. 223–224 4102:Cairns (1999), pp. 683–685 4084:Cairns (1999), pp. 732–733 4022:Bloom (2000), pp. xxi–xxii 3986:Cairns (1999), pp. 549–551 3891:Cairns (1999), pp. 440–441 3861:Cairns (1999), pp. 363–364 3807:Cairns (1999), pp. 241–242 3683:Cairns (1999), pp. 172–173 2397:French Republican Calendar 2204:have recorded versions of 2061:carried this verdict from 1956:L'Histoire d'un romantique 1914: 1886:Les Soirées de l'orchestre 1868: 1299: 969:1840s: Struggling composer 372:Le Passage de la mer Rouge 270:1821–1824: Medical student 93:and the "dramatic legend" 18: 10848:French Romantic composers 10808:French conductors (music) 10631: 10594:Romanticism and economics 10531: 10423: 10170: 9992: 9937: 9906: 9830: 9779: 9728: 9687: 9596: 9540: 9504: 9458: 9449: 9294: 9238: 9187: 9146: 9105: 9059: 9001: 8871: 8750: 8672: 8609:Manuel Antônio de Almeida 8591: 8582: 8468: 8336: 8267: 8199: 8115: 8060: 8005: 7939: 7918: 7205: 7196: 7128: 7104: 7077: 7038: 6995: 6961: 6911: 6868: 6850: 6598:10.1017/S0269040300011245 6297:The Journal of Musicology 6170:Schwann, William (1956). 5969:Kregor, Jonathan (2010). 5548:Bonds, Mark Evan (2013). 5499:Bernard, Daniel (2010) . 5482:Berlioz, Hector (1970) . 5077:"Holoman, D(allas) Kern" 5018:Holoman (1975), pp. 57–58 3501:"Fauré, Gabriel (Urbain)" 3144:Holoman (1989), pp. 25–27 2893:"Berlioz, (Louis-)Hector" 2037:that he did not possess. 1729: 1598: 1017:Revue et gazette musicale 867:Evenings in the Orchestra 337:François-Adrien Boieldieu 10843:French opera librettists 8374:German historical school 8045:Tchaikovsky and The Five 7113:La Symphonie fantastique 6119:Rushton, Julian (2001). 5994:Berlioz Orchestral Music 5950:Jefferson, Alan (1979). 5772:A Short History of Opera 5658:Song on Record, Volume 2 5408: 5342:26 December 2014 at the 5317:, 7 December 1999, p. 41 5112:12 November 2018 at the 5107:"Macdonald, Hugh J(ohn)" 5082:12 November 2018 at the 5055:12 November 2018 at the 4921:Warrack, pp. 252 and 254 4648:Grout and Williams, p. 9 4631:29 February 2016 at the 4504:in Rushton (1983), p. 28 4428:in Cairns (1966), p. 209 4290:Macdonald (1969), p. 255 4243:New York Review of Books 3699:12 November 2018 at the 3166:in Cairns (2000), p. 130 3045:Cairns (2000), pp. 87–88 2979:Cairns (2000), pp. 30–31 2303: 1864: 1673:, depicting the fall of 1295: 21:Berlioz (disambiguation) 10833:Classical music critics 10823:French male journalists 9021:Józef Ignacy Kraszewski 6754:(subscription required) 6726:(subscription required) 6698:(subscription required) 6667:(subscription required) 6635:(subscription required) 6611:(subscription required) 6576:(subscription required) 6544:(subscription required) 6509:(subscription required) 6485:(subscription required) 6453:(subscription required) 6421:(subscription required) 6408:10.1093/ml/XXXIII.2.119 6386:(subscription required) 6354:(subscription required) 6322:(subscription required) 6286:(subscription required) 6187:Sorell, Walter (1970). 6080:The Romantic Generation 5614:Cairns, David (2000) . 5393:11 October 2018 at the 5294:11 October 2018 at the 5268:19 October 2018 at the 5223:, 31 October 1955, p. 5 5221:The Manchester Guardian 5168:(subscription required) 5158:11 October 2018 at the 5138:28 October 2018 at the 5122:(subscription required) 5092:(subscription required) 5065:(subscription required) 4863:11 October 2018 at the 4847:(subscription required) 4795:11 October 2018 at the 4750:11 October 2018 at the 4721:11 October 2018 at the 4701:(subscription required) 4691:11 October 2018 at the 4686:"Berlioz, Louis Hector" 4594:11 October 2018 at the 4589:(subscription required) 4570:11 October 2018 at the 4437:Macdonald (1969), p. 30 4396:11 October 2018 at the 4361:(subscription required) 4351:11 October 2018 at the 4316:11 October 2018 at the 4305:2 February 2016 at the 4237:11 October 2018 at the 4063:30 October 2018 at the 4058:(subscription required) 3709:(subscription required) 3662:Macdonald (1969), p. 44 3631:(subscription required) 3561:(subscription required) 3532:2 November 2020 at the 3521:11 October 2018 at the 3454:11 October 2018 at the 3093:(subscription required) 3083:11 October 2018 at the 2901:(subscription required) 2805:11 October 2018 at the 2800:"Berlioz, Louis Hector" 2222:Victoria de los Ángeles 2006:Correspondance générale 1941:George Templeton Strong 1648:Opéra national de Paris 1632:the Florentine sculptor 998:Invitation to the Dance 540:1830–1832: Prix de Rome 500:. He heard Beethoven's 10838:French opera composers 10604:Romanticism in science 10559:Middle Ages in history 10554:List of Romantic poets 9266:Josiah Gilbert Holland 8068:Common practice period 6977:Grande messe des morts 6767:Free scores by Berlioz 6654:10.1093/jrma/109.1.105 6147:Sackville-West, Edward 6056:Reid, Charles (1968). 5637:. London: Allen Lane. 5633:Cairns, David (1999). 5567:Boyd, Malcolm (2008). 5443:. London: Hutchinson. 5151:Williamson, Rosemary. 4961:Holoman (1989), p. 633 4930:Lockspeiser, pp. 37–38 4716:"Béatrice et Bénédict" 4666:Holoman (2000), p. 174 4624:Christiansen, Rupert. 4534:Rushton (1983), p. 256 4522:Rushton (1983), p. 262 4380:Holoman (1989), p. 103 4281:Rushton (1983), p. 145 4254:Rushton (1983), p. 182 4174:Rushton (1983), p. 258 4165:Rushton (1983), p. 257 4156:Holoman (1989), p. 594 4147:Holoman (1989), p. 592 4075:Holoman (1989), p. 563 4034:Holoman (1989), p. 505 3927:Holoman (1989), p. 445 3918:Holoman (1989), p. 425 3852:Holoman (1989), p. 313 3798:Rushton (2001), p. 165 3719:Holoman (1989), p. 197 3674:Bloom (2000), p. xviii 3510:; Wagstaff, John, and 3487:Holoman (1989), p. 161 3254:Holoman (1989), p. 305 2442:The Gluck operas were 2366:[ɛktɔʁbɛʁljoz] 2072: 2055: 2025: 1932: 1780:Exposition Universelle 1747: 1698:Much Ado About Nothing 1644:English National Opera 1617: 1609:Les Troyens à Carthage 1522: 1508: 1475: 1417: 1341: 1239: 1228: 1215:1860–1869: final years 1132: 1093: 1050: 978: 915: 884:Grande messe des morts 791: 667: 616:French Academy in Rome 589:Marie ("Camille") Moke 584: 581:Marie ("Camille") Moke 563:La Mort de Sardanapale 559: 426:Théâtre des Nouveautés 413: 353:Jean-François Le Sueur 306: 280:University of Grenoble 204: 162:1803–1821: early years 140:Much Ado About Nothing 37: 10574:Romantic epistemology 10564:Opium and Romanticism 9133:Stojadinović-Srpkinja 8359:Counter-Enlightenment 7020:La Damnation de Faust 6922:Symphonie fantastique 6172:Schwann Catalog, July 5826:J. A. Fuller Maitland 5726:Crabbe, John (1980). 5133:"New Berlioz Edition" 5036:Holoman (1975), p. 59 4988:Cairns (1963), p. 548 4948:Lloyd, Norman. 1968. 4903:Rushton (2001), p. 53 4828:Rushton (2008), p. 51 4606:O'Neal (2018), p. 235 4555:Cairns (1999), p. 111 4482:Rushton (2001), p. 42 4232:"Battle over Berlioz" 4111:Cairns (1999), p. 722 4093:O'Neal (2018), p. 181 3995:Cairns (1999), p. 557 3968:Cairns (1999), p. 528 3900:Cairns (1999), p. 441 3825:Cairns (1999), p. 259 3789:Cairns (1999), p. 177 3780:Bloom (2000), p. xvii 3759:Cairns (1999), p. 205 3653:Cairns (1966), p. 211 3422:Cairns (2000), p. 557 3331:Cairns (2000), p. 422 3304:Cairns (2000), p. 426 3218:Cairns (2000), p. 276 3209:Cairns (2000), p. 114 3191:Cairns (2000), p. 119 3135:Cairns (2000), p. 112 3112:Cairns (2000), p. 106 3103:Holoman (1989), p. 20 3072:Anderson, Gordon A., 3063:Holoman (1989), p. 19 3036:Holoman (1989), p. 13 2970:Crabbe, pp. 16 and 24 2952:Barzun, pp. 21 and 60 2257:Symphonie fantastique 2244:, and more recently, 2183:La Damnation de Faust 2167:Symphonie fantastique 2129:Symphonie fantastique 2067: 2051: 2021: 2013:musical expression." 1922: 1824:mode of expression". 1821:La Damnation de Faust 1802:La Damnation de Faust 1737: 1723:La Damnation de Faust 1714:. Cairns writes that 1606: 1562:Edward Sackville-West 1558:Symphonie fantastique 1550:symphonie concertante 1528:Symphonie fantastique 1519:Symphonie fantastique 1517: 1505:Symphonie fantastique 1498: 1459:Symphonie fantastique 1455: 1413:Symphonie fantastique 1405: 1393:Symphonie fantastique 1333: 1325:La Damnation de Faust 1321:Symphonie fantastique 1234: 1222: 1137:La Damnation de Faust 1135:After the failure of 1126: 1106:Louis-Antoine Jullien 1097:La Damnation de Faust 1089: 1045: 1023:, published in 1843. 976: 907: 886:– first performed at 803:Symphonie fantastique 786: 734:Symphonie fantastique 658: 650:Symphonie fantastique 605:Symphonie fantastique 593:Symphonie fantastique 579: 571:Symphonie fantastique 554: 533:La Damnation de Faust 408: 399:Symphonie fantastique 292: 196: 170:Marmion (1784–1838). 120:Symphonie fantastique 96:La Damnation de Faust 50:Symphonie fantastique 31: 10828:French music critics 10638:Age of Enlightenment 8280:England (literature) 8105:Romantic nationalism 8051:War of the Romantics 7120:Musée Hector-Berlioz 6893:Béatrice et Bénédict 6741:10.1093/ml/VII.2.133 6151:Desmond Shawe-Taylor 6121:The Music of Berlioz 5971:Liszt as Transcriber 4894:O'Neal (2002), p. 22 4272:Rosen (1998), p. 544 4013:Bloom (1981), p. 194 3734:4 April 2018 at the 3497:Nectoux, Jean-Michel 3277:Bloom (2000), p. xvi 2997:Bloom (2000), p. xiv 2961:Holoman (1989), p. 6 2943:Holoman (1989), p. 9 2786:Cairns (2000), p. 12 2768:Cairns (2000), p. 36 2469:Iphigénie en Tauride 2293:François-Xavier Roth 2289:Yannick Nézet-Séguin 2206:Béatrice et Bénédict 2163:Béatrice et Bénédict 2049:made this judgment: 1716:Béatrice et Bénédict 1688:Béatrice et Bénédict 1612:(the second part of 1566:Desmond Shawe-Taylor 1560:; fifty years later 1337:Béatrice et Bénédict 1159:the Great Exhibition 1067:(reusing music from 705:Béatrice et Bénédict 524:Huit scènes de Faust 325:Iphigénie en Tauride 253:Traité de l'harmonie 135:Béatrice et Bénédict 84:Béatrice et Bénédict 41:Louis-Hector Berlioz 10589:Romantic psychology 8384:Hudson River School 8328:Sweden (literature) 8313:Russia (literature) 8100:Musical nationalism 8018:Musical nationalism 7028:L'Enfance du Christ 6733:Music & Letters 6713:10.1093/ml/VII.1.63 6705:Music & Letters 6519:Music & Letters 6515:Lockspeiser, Edward 6396:Music & Letters 6174:. Boston: Schwann. 6157:. London: Collins. 5854:. London: Collins. 5846:Haltrecht, Montague 5355:Cairns (2006), p. 3 4004:Cairns (2006), p. 4 3959:Bloom (2000), p. xx 3551:15 May 2018 at the 3506:30 May 2020 at the 3182:Bloom (2000), p. xv 2734:A production under 2674:Rupert Christiansen 2463:Iphigénie en Aulide 2277:Herbert von Karajan 2155:L'Enfance du Christ 2017:Changing reputation 1937:Eugène de Mirecourt 1817:L'Enfance du Christ 1784:St Paul's Cathedral 1265:Montmartre Cemetery 1199:, he began work on 1180:L'Enfance du Christ 1176:L'Enfance du Christ 1154:L'Enfance du Christ 1075:(originally called 823:L'Europe littéraire 752:; writers included 648:), a sequel to the 345:Paris Conservatoire 284:University of Paris 278:examination at the 258:Charles-Simon Catel 180:La Côte-Saint-André 109:Paris Conservatoire 69:, his three operas 66:L'Enfance du Christ 8574:White Mountain art 8515:Historical fiction 8323:Spain (literature) 8013:Indianist movement 7931:Romantic orchestra 7039:Songs and cantatas 6996:Other choral works 6618:The Choral Journal 6492:19th-Century Music 6229:Weingartner, Felix 5164:Grove Music Online 5118:Grove Music Online 5088:Grove Music Online 5061:Grove Music Online 4843:Grove Music Online 4837:Holoman, D. Kern. 4788:Anderson, Martin. 4491:Weingartner, p. 68 4455:Weingartner, p. 67 4054:Grove Music Online 4048:Holoman, D. Kern. 3705:Grove Music Online 3694:"Paganini, Nicolò" 3627:Grove Music Online 3557:Grove Music Online 3089:Grove Music Online 2988:Berlioz, pp. 34–35 2897:Grove Music Online 2736:Sir Thomas Beecham 2451:Orphée et Euridice 1972:Nicholas Temperley 1933: 1748: 1640:Metropolitan Opera 1618: 1523: 1509: 1418: 1342: 1317:Sir Thomas Beecham 1240: 1229: 1205:Institut de France 1133: 1064:Le carnaval romain 1051: 1009:La Nonne sanglante 979: 955:Tristan und Isolde 916: 835:Journal des débats 792: 738:Le Retour à la vie 668: 641:Le Retour à la vie 622:, the heir to the 585: 454:Théâtre de l'Odéon 414: 368:Estelle et Némorin 307: 205: 38: 10868:People from Isère 10665: 10664: 10579:Romantic medicine 10549:List of romantics 9988: 9987: 9639:Felix Mendelssohn 9634:Fanny Mendelssohn 9445: 9444: 9159:Rosalía de Castro 9097:Soares dos Passos 8445:Transcendentalism 8409:Nazarene movement 8369:Düsseldorf School 8227: 8226: 8193:New German School 8159: 8158: 8030:New German School 7625:Felix Mendelssohn 7620:Fanny Mendelssohn 7156: 7155: 6946:Roméo et Juliette 6885:Benvenuto Cellini 6677:The Musical Times 6557:(1513): 255–258. 6551:The Musical Times 6531:10.1093/ml/L.1.37 6460:Acta Musicologica 6434:(1037): 602–604. 6428:The Musical Times 6361:The Hudson Review 6335:(1446): 548–551. 6329:The Musical Times 6261:Acta Musicologica 6138:978-0-19-816690-0 6111:978-0-521-24279-0 6089:978-0-674-77934-1 6067:978-0-241-91316-1 6048:978-0-19-285445-2 6026:978-0-8108-8607-0 6004:978-0-563-08455-6 5980:978-0-521-11777-7 5961:978-0-354-04205-5 5942:978-0-521-59638-1 5911:978-0-571-14235-4 5887:978-0-09-181410-6 5870:Harewood, Earl of 5861:978-0-00-211163-8 5813:978-0-521-59638-1 5791:978-0-231-11958-0 5782:10.7312/grou11958 5766:Grout, Donald Jay 5750:The Music Masters 5737:978-0-900707-53-7 5667:978-0-521-02798-4 5644:978-0-7139-9386-8 5625:978-0-14-028726-4 5606:978-0-14-020772-9 5578:978-0-521-08187-0 5559:978-0-205-86722-6 5540:978-0-521-59638-1 5510:978-1-108-02118-0 5474:978-0-521-67347-1 5253:Haltrecht, p. 225 5244:Jefferson, p. 190 5183:Barzun, pp. 11–13 5153:"Rushton, Julian" 3621:Holoman, D. Kern 3516:"Messager, André" 3464:(subscription or 3313:Kregor, pp. 43–46 2891:Macdonald, Hugh. 2815:(subscription or 2721:The Musical Times 2718:A commentator in 2501:François Habeneck 2399:was still in use. 2379:Franco-Provençal: 2214:Benvenuto Cellini 2208:, and Nelson and 2171:Roméo et Juliette 2144:Roméo et Juliette 2088:Modest Mussorgsky 1627:Benvenuto Cellini 1579:Emmanuel Chabrier 1574:Roméo et Juliette 1554:Felix Weingartner 1515: 1467:Benvenuto Cellini 1406:Berlioz's use of 1306:In his 1983 book 1164:Benvenuto Cellini 1069:Benvenuto Cellini 945:Roméo et Juliette 932:Benvenuto Cellini 924:Benvenuto Cellini 911:Benvenuto Cellini 758:Théophile Gautier 693:Roméo et Juliette 687:Benvenuto Cellini 676:Felix Mendelssohn 464:– his biographer 127:Benvenuto Cellini 90:Roméo et Juliette 72:Benvenuto Cellini 34:August Prinzhofer 10885: 10798:French agnostics 10730: 10729: 10728: 10718: 10717: 10716: 10706: 10705: 10704: 10694: 10693: 10682: 10681: 10680: 10673: 10655: 10654: 10614:Evolution theory 9456: 9455: 8589: 8588: 8450:Ukrainian school 8254: 8247: 8240: 8231: 8230: 8186: 8179: 8172: 8163: 8162: 8149: 8139: 8138: 8035:Post-romanticism 7900:Vaughan Williams 7183: 7176: 7169: 7160: 7159: 7146: 7136: 7135: 7070: 6970:Messe solennelle 6962:Liturgical works 6938:Harold en Italie 6877:Les Francs-juges 6837: 6830: 6823: 6814: 6813: 6755: 6752: 6727: 6724: 6699: 6696: 6668: 6665: 6636: 6633: 6612: 6609: 6577: 6574: 6545: 6542: 6510: 6507: 6498:(2–3): 337–346. 6486: 6483: 6454: 6451: 6422: 6419: 6387: 6384: 6355: 6352: 6323: 6320: 6293:Harold en Italie 6287: 6284: 6246: 6224: 6200: 6183: 6166: 6155:The Record Guide 6142: 6115: 6093: 6071: 6052: 6030: 6008: 5984: 5965: 5946: 5927: 5925: 5923: 5896:Holoman, D. Kern 5891: 5879: 5865: 5841: 5817: 5795: 5775: 5761: 5741: 5722: 5705: 5688: 5671: 5648: 5629: 5610: 5582: 5563: 5544: 5514: 5495: 5478: 5466: 5452: 5432: 5398: 5385: 5379: 5362: 5356: 5353: 5347: 5333: 5327: 5324: 5318: 5311: 5305: 5285:Northcott, Bayan 5282: 5273: 5260: 5254: 5251: 5245: 5242: 5236: 5233: 5224: 5217: 5211: 5208: 5202: 5199: 5193: 5190: 5184: 5181: 5170: 5169: 5149: 5143: 5130: 5124: 5123: 5103: 5094: 5093: 5073: 5067: 5066: 5043: 5037: 5034: 5028: 5025: 5019: 5016: 5007: 5004: 4998: 4995: 4989: 4986: 4971: 4968: 4962: 4959: 4953: 4946: 4940: 4937: 4931: 4928: 4922: 4919: 4913: 4910: 4904: 4901: 4895: 4892: 4886: 4883: 4877: 4874: 4868: 4855: 4849: 4848: 4835: 4829: 4826: 4820: 4810: 4804: 4786: 4777: 4774: 4768: 4765: 4759: 4741: 4735: 4732: 4726: 4712: 4703: 4702: 4682: 4676: 4673: 4667: 4664: 4658: 4655: 4649: 4646: 4640: 4622: 4616: 4613: 4607: 4604: 4598: 4590: 4583:Quinn, Michael. 4581: 4575: 4562: 4556: 4553: 4547: 4541: 4535: 4532: 4523: 4520: 4514: 4511: 4505: 4498: 4492: 4489: 4483: 4480: 4474: 4471: 4465: 4462: 4456: 4453: 4447: 4444: 4438: 4435: 4429: 4423: 4414: 4411: 4405: 4387: 4381: 4378: 4372: 4369: 4363: 4362: 4342:Kennedy, Michael 4339: 4330: 4327: 4321: 4297: 4291: 4288: 4282: 4279: 4273: 4270: 4264: 4261: 4255: 4252: 4246: 4225: 4214: 4211: 4202: 4199: 4193: 4190: 4184: 4181: 4175: 4172: 4166: 4163: 4157: 4154: 4148: 4145: 4139: 4136: 4130: 4127: 4121: 4118: 4112: 4109: 4103: 4100: 4094: 4091: 4085: 4082: 4076: 4073: 4067: 4059: 4046: 4035: 4032: 4023: 4020: 4014: 4011: 4005: 4002: 3996: 3993: 3987: 3984: 3978: 3975: 3969: 3966: 3960: 3957: 3946: 3943: 3937: 3934: 3928: 3925: 3919: 3916: 3910: 3907: 3901: 3898: 3892: 3889: 3883: 3880: 3874: 3871: 3862: 3859: 3853: 3850: 3844: 3841: 3835: 3832: 3826: 3823: 3817: 3814: 3808: 3805: 3799: 3796: 3790: 3787: 3781: 3778: 3769: 3766: 3760: 3757: 3751: 3748: 3739: 3726: 3720: 3717: 3711: 3710: 3690: 3684: 3681: 3675: 3672: 3663: 3660: 3654: 3651: 3645: 3642: 3633: 3632: 3619: 3608: 3605: 3599: 3596: 3590: 3587: 3581: 3578: 3572: 3569: 3563: 3562: 3538:Lesure, François 3494: 3488: 3485: 3479: 3476: 3470: 3469: 3445: 3432: 3429: 3423: 3420: 3411: 3408: 3402: 3399: 3390: 3387: 3381: 3378: 3372: 3369: 3360: 3359:Evans, pp. 28–29 3357: 3344: 3341: 3332: 3329: 3323: 3320: 3314: 3311: 3305: 3302: 3296: 3293: 3287: 3284: 3278: 3275: 3264: 3261: 3255: 3252: 3246: 3243: 3237: 3234: 3228: 3225: 3219: 3216: 3210: 3207: 3201: 3198: 3192: 3189: 3183: 3180: 3167: 3160: 3154: 3151: 3145: 3142: 3136: 3133: 3127: 3124: 3113: 3110: 3104: 3101: 3095: 3094: 3070: 3064: 3061: 3055: 3052: 3046: 3043: 3037: 3034: 3028: 3025: 3019: 3016: 3010: 3007: 2998: 2995: 2989: 2986: 2980: 2977: 2971: 2968: 2962: 2959: 2953: 2950: 2944: 2941: 2935: 2934: 2924: 2916: 2914: 2912: 2902: 2889: 2830: 2827: 2821: 2820: 2798:Bickley, Diana. 2796: 2787: 2784: 2778: 2775: 2769: 2766: 2751: 2732: 2726: 2716: 2710: 2703: 2697: 2678:Donald Jay Grout 2670: 2664: 2661: 2655: 2652: 2646: 2643: 2637: 2630: 2624: 2620: 2614: 2591: 2585: 2582: 2576: 2573: 2567: 2564: 2558: 2551: 2545: 2541: 2535: 2532: 2526: 2523: 2517: 2510: 2504: 2497: 2491: 2488: 2482: 2479: 2473: 2440: 2434: 2421: 2415: 2406: 2400: 2393: 2387: 2385: 2383:[ˈbɛrʎo] 2380: 2376: 2375: 2374: 2368: 2363: 2356: 2351: 2350: 2347: 2346: 2343: 2340: 2337: 2334: 2331: 2328: 2321: 2313: 2265:Concerts Colonne 2210:Roger Norrington 2202:Daniel Barenboim 2141:Les Nuits d'été, 2032: 2029:The Record Guide 1945:Walter J. Turner 1925:J. J. Grandville 1894:À travers chants 1746:in the Dies irae 1538:Constant Lambert 1516: 963:Legion of Honour 831:Gazette musicale 750:Niccolò Paganini 730:Les Francs-juges 724:1832–1840: Paris 561:The cantata was 520:Gérard de Nerval 473:Les Francs-juges 462:Harriet Smithson 449:Romeo and Juliet 434:La Mort d'Orphée 410:Harriet Smithson 394:Les Francs-juges 389:Messe solennelle 341:Gaspare Spontini 304: 263:Les Francs-juges 203: 200: 116:Harriet Smithson 10893: 10892: 10888: 10887: 10886: 10884: 10883: 10882: 10738: 10737: 10736: 10726: 10724: 10714: 10712: 10702: 10700: 10688: 10684:Classical music 10678: 10676: 10668: 10666: 10661: 10660: 10649: 10641: 10627: 10584:Romantic poetry 10569:Romantic ballet 10544:German idealism 10527: 10493:Lacoue-Labarthe 10419: 10166: 9984: 9933: 9902: 9883:Rimsky-Korsakov 9826: 9775: 9724: 9683: 9592: 9536: 9500: 9441: 9290: 9234: 9183: 9142: 9101: 9055: 8997: 8938:Maria Edgeworth 8874: 8867: 8746: 8668: 8578: 8557:Romantic genius 8487:Gesamtkunstwerk 8464: 8425:Sturm und Drang 8332: 8263: 8258: 8228: 8223: 8195: 8190: 8160: 8155: 8132: 8128:Modernist music 8124: 8121:Classical music 8111: 8056: 8001: 7982:Romantic ballet 7977:Orchestral song 7957:Chorale prelude 7952:Character piece 7935: 7926:Romantic guitar 7919:Instrumentation 7914: 7750:Rimsky-Korsakov 7370:Ferdinand David 7207: 7201: 7192: 7187: 7157: 7152: 7124: 7100: 7073: 7062:Les Nuits d'été 7034: 6991: 6957: 6913: 6907: 6864: 6846: 6841: 6763: 6758: 6753: 6725: 6697: 6666: 6634: 6610: 6575: 6543: 6508: 6484: 6452: 6420: 6385: 6373:10.2307/3850680 6353: 6321: 6285: 6254: 6249: 6139: 6112: 6098:Rushton, Julian 6090: 6068: 6058:Malcolm Sargent 6049: 6027: 6013:O'Neal, Melinda 6005: 5997:. London: BBC. 5989:Macdonald, Hugh 5981: 5962: 5943: 5921: 5919: 5912: 5888: 5862: 5814: 5792: 5738: 5668: 5645: 5626: 5607: 5579: 5560: 5541: 5511: 5475: 5441:A Mingled Chime 5437:Beecham, Thomas 5417:Barzun, Jacques 5411: 5406: 5401: 5395:Wayback Machine 5386: 5382: 5363: 5359: 5354: 5350: 5344:Wayback Machine 5334: 5330: 5325: 5321: 5312: 5308: 5301:The Independent 5296:Wayback Machine 5283: 5276: 5270:Wayback Machine 5261: 5257: 5252: 5248: 5243: 5239: 5234: 5227: 5218: 5214: 5209: 5205: 5200: 5196: 5191: 5187: 5182: 5173: 5167: 5160:Wayback Machine 5150: 5146: 5140:Wayback Machine 5131: 5127: 5121: 5114:Wayback Machine 5104: 5097: 5091: 5084:Wayback Machine 5075:Morgan, Paula. 5074: 5070: 5064: 5057:Wayback Machine 5050:"Cairns, David" 5044: 5040: 5035: 5031: 5026: 5022: 5017: 5010: 5005: 5001: 4997:Elliott, p. 602 4996: 4992: 4987: 4974: 4969: 4965: 4960: 4956: 4947: 4943: 4938: 4934: 4929: 4925: 4920: 4916: 4911: 4907: 4902: 4898: 4893: 4889: 4884: 4880: 4875: 4871: 4865:Wayback Machine 4856: 4852: 4846: 4836: 4832: 4827: 4823: 4811: 4807: 4801:The Independent 4797:Wayback Machine 4787: 4780: 4775: 4771: 4766: 4762: 4752:Wayback Machine 4743:Cairns, David. 4742: 4738: 4733: 4729: 4723:Wayback Machine 4714:Cairns, David. 4713: 4706: 4700: 4693:Wayback Machine 4683: 4679: 4674: 4670: 4665: 4661: 4657:Harewood, p. 54 4656: 4652: 4647: 4643: 4633:Wayback Machine 4623: 4619: 4614: 4610: 4605: 4601: 4596:Wayback Machine 4588: 4582: 4578: 4572:Wayback Machine 4563: 4559: 4554: 4550: 4542: 4538: 4533: 4526: 4521: 4517: 4512: 4508: 4499: 4495: 4490: 4486: 4481: 4477: 4472: 4468: 4463: 4459: 4454: 4450: 4445: 4441: 4436: 4432: 4424: 4417: 4412: 4408: 4398:Wayback Machine 4388: 4384: 4379: 4375: 4370: 4366: 4360: 4353:Wayback Machine 4340: 4333: 4328: 4324: 4318:Wayback Machine 4307:Wayback Machine 4298: 4294: 4289: 4285: 4280: 4276: 4271: 4267: 4262: 4258: 4253: 4249: 4239:Wayback Machine 4226: 4217: 4212: 4205: 4200: 4196: 4191: 4187: 4183:Beecham, p. 183 4182: 4178: 4173: 4169: 4164: 4160: 4155: 4151: 4146: 4142: 4137: 4133: 4128: 4124: 4119: 4115: 4110: 4106: 4101: 4097: 4092: 4088: 4083: 4079: 4074: 4070: 4065:Wayback Machine 4057: 4047: 4038: 4033: 4026: 4021: 4017: 4012: 4008: 4003: 3999: 3994: 3990: 3985: 3981: 3976: 3972: 3967: 3963: 3958: 3949: 3944: 3940: 3935: 3931: 3926: 3922: 3917: 3913: 3908: 3904: 3899: 3895: 3890: 3886: 3881: 3877: 3872: 3865: 3860: 3856: 3851: 3847: 3842: 3838: 3833: 3829: 3824: 3820: 3815: 3811: 3806: 3802: 3797: 3793: 3788: 3784: 3779: 3772: 3767: 3763: 3758: 3754: 3749: 3742: 3736:Wayback Machine 3727: 3723: 3718: 3714: 3708: 3701:Wayback Machine 3691: 3687: 3682: 3678: 3673: 3666: 3661: 3657: 3652: 3648: 3643: 3636: 3630: 3620: 3611: 3607:Bernard, p. 309 3606: 3602: 3597: 3593: 3588: 3584: 3579: 3575: 3570: 3566: 3560: 3553:Wayback Machine 3534:Wayback Machine 3523:Wayback Machine 3508:Wayback Machine 3495: 3491: 3486: 3482: 3478:Berlioz, p. 224 3477: 3473: 3463: 3456:Wayback Machine 3446: 3435: 3430: 3426: 3421: 3414: 3409: 3405: 3401:Berlioz, p. 225 3400: 3393: 3388: 3384: 3379: 3375: 3370: 3363: 3358: 3347: 3342: 3335: 3330: 3326: 3321: 3317: 3312: 3308: 3303: 3299: 3294: 3290: 3285: 3281: 3276: 3267: 3263:Berlioz, p. 131 3262: 3258: 3253: 3249: 3244: 3240: 3235: 3231: 3226: 3222: 3217: 3213: 3208: 3204: 3199: 3195: 3190: 3186: 3181: 3170: 3161: 3157: 3152: 3148: 3143: 3139: 3134: 3130: 3125: 3116: 3111: 3107: 3102: 3098: 3092: 3085:Wayback Machine 3071: 3067: 3062: 3058: 3053: 3049: 3044: 3040: 3035: 3031: 3026: 3022: 3017: 3013: 3008: 3001: 2996: 2992: 2987: 2983: 2978: 2974: 2969: 2965: 2960: 2956: 2951: 2947: 2942: 2938: 2918: 2917: 2910: 2908: 2905:"Archived copy" 2903: 2900: 2890: 2833: 2828: 2824: 2814: 2807:Wayback Machine 2797: 2790: 2785: 2781: 2776: 2772: 2767: 2763: 2759: 2754: 2733: 2729: 2717: 2713: 2704: 2700: 2694:Michael Kennedy 2686:D. Kern Holoman 2671: 2667: 2662: 2658: 2653: 2649: 2644: 2640: 2631: 2627: 2621: 2617: 2611:Rimsky-Korsakov 2592: 2588: 2583: 2579: 2574: 2570: 2565: 2561: 2555:Harold in Italy 2552: 2548: 2542: 2538: 2533: 2529: 2524: 2520: 2511: 2507: 2498: 2494: 2489: 2485: 2480: 2476: 2441: 2437: 2431:Antonio Salieri 2422: 2418: 2407: 2403: 2394: 2390: 2378: 2370: 2369: 2361: 2354: 2325: 2316: 2315: 2314: 2310: 2306: 2301: 2218:Les Nuits d'été 2212:have conducted 2175:Harold in Italy 2173:, and three of 2161:, four each of 2159:Les Nuits d'été 2137:Harold in Italy 2124: 2115:Sir Colin Davis 2111:Bayan Northcott 2034: 2027: 2019: 1983:D. Kern Holoman 1952:Adolphe Boschot 1917: 1912: 1873: 1867: 1835:Les Nuits d'été 1830: 1806:Raoul Gunsbourg 1732: 1636:opera semiseria 1601: 1583:Wilfrid Mellers 1545:Harold in Italy 1511: 1480: 1426:Richard Strauss 1410:strings in the 1304: 1298: 1258:Crohn's disease 1217: 1197:Les Nuits d'été 1129:Gustave Courbet 1121: 1077:La tour de Nice 1004:Les Nuits d'été 977:Berlioz in 1845 971: 940:Harold in Italy 928:D. Kern Holoman 920:Robert Schumann 899:Messe des morts 811:Harold in Italy 754:Alexandre Dumas 746:Frédéric Chopin 726: 710:Harold in Italy 681:Harold in Italy 557:pistol in hand. 546:July Revolution 542: 384: 302: 299:Rue le Peletier 272: 201: 164: 159: 157:Life and career 56:Harold in Italy 24: 17: 12: 11: 5: 10891: 10881: 10880: 10875: 10870: 10865: 10860: 10855: 10850: 10845: 10840: 10835: 10830: 10825: 10820: 10815: 10810: 10805: 10800: 10795: 10790: 10785: 10780: 10775: 10770: 10765: 10760: 10755: 10750: 10748:Hector Berlioz 10735: 10734: 10722: 10710: 10698: 10686: 10663: 10662: 10642: 10634: 10633: 10632: 10629: 10628: 10626: 10625: 10618: 10617: 10616: 10611: 10601: 10596: 10591: 10586: 10581: 10576: 10571: 10566: 10561: 10556: 10551: 10546: 10541: 10535: 10533: 10532:Related topics 10529: 10528: 10526: 10525: 10520: 10515: 10510: 10505: 10500: 10495: 10490: 10485: 10480: 10475: 10470: 10465: 10460: 10455: 10450: 10445: 10440: 10435: 10429: 10427: 10421: 10420: 10418: 10417: 10412: 10407: 10402: 10397: 10392: 10387: 10382: 10377: 10372: 10367: 10362: 10357: 10352: 10347: 10342: 10337: 10332: 10327: 10322: 10317: 10312: 10307: 10302: 10297: 10292: 10287: 10282: 10277: 10272: 10267: 10262: 10260:Gallen-Kallela 10257: 10252: 10247: 10242: 10237: 10235:David d'Angers 10232: 10227: 10222: 10217: 10212: 10207: 10202: 10197: 10192: 10187: 10182: 10176: 10174: 10172:Visual artists 10168: 10167: 10165: 10164: 10159: 10154: 10149: 10144: 10139: 10134: 10132:Schleiermacher 10129: 10124: 10119: 10114: 10109: 10104: 10099: 10094: 10089: 10084: 10079: 10074: 10069: 10064: 10059: 10054: 10049: 10044: 10039: 10034: 10029: 10024: 10019: 10014: 10009: 10004: 9998: 9996: 9990: 9989: 9986: 9985: 9983: 9982: 9977: 9972: 9967: 9962: 9957: 9952: 9947: 9941: 9939: 9935: 9934: 9932: 9931: 9926: 9921: 9916: 9910: 9908: 9904: 9903: 9901: 9900: 9895: 9890: 9885: 9880: 9875: 9870: 9865: 9860: 9855: 9850: 9845: 9840: 9834: 9832: 9828: 9827: 9825: 9824: 9819: 9814: 9809: 9804: 9799: 9794: 9789: 9783: 9781: 9777: 9776: 9774: 9773: 9768: 9763: 9758: 9753: 9748: 9743: 9738: 9732: 9730: 9726: 9725: 9723: 9722: 9717: 9712: 9707: 9702: 9697: 9691: 9689: 9685: 9684: 9682: 9681: 9676: 9671: 9666: 9661: 9656: 9651: 9646: 9641: 9636: 9631: 9626: 9621: 9616: 9611: 9606: 9600: 9598: 9594: 9593: 9591: 9590: 9585: 9580: 9575: 9570: 9565: 9560: 9555: 9550: 9544: 9542: 9538: 9537: 9535: 9534: 9529: 9524: 9519: 9514: 9508: 9506: 9502: 9501: 9499: 9498: 9493: 9488: 9483: 9478: 9473: 9468: 9462: 9460: 9453: 9447: 9446: 9443: 9442: 9440: 9439: 9434: 9429: 9424: 9419: 9414: 9409: 9404: 9399: 9397:Oehlenschläger 9394: 9389: 9384: 9379: 9374: 9369: 9364: 9359: 9354: 9349: 9344: 9339: 9334: 9329: 9324: 9319: 9314: 9309: 9304: 9298: 9296: 9292: 9291: 9289: 9288: 9283: 9278: 9273: 9268: 9263: 9258: 9253: 9248: 9242: 9240: 9236: 9235: 9233: 9232: 9227: 9222: 9217: 9212: 9207: 9202: 9197: 9191: 9189: 9185: 9184: 9182: 9181: 9176: 9171: 9166: 9161: 9156: 9150: 9148: 9144: 9143: 9141: 9140: 9135: 9130: 9125: 9120: 9115: 9109: 9107: 9103: 9102: 9100: 9099: 9094: 9089: 9084: 9079: 9074: 9069: 9067:Castelo Branco 9063: 9061: 9057: 9056: 9054: 9053: 9048: 9043: 9038: 9033: 9028: 9023: 9018: 9013: 9007: 9005: 8999: 8998: 8996: 8995: 8990: 8985: 8980: 8975: 8970: 8965: 8960: 8955: 8950: 8945: 8940: 8935: 8930: 8925: 8920: 8915: 8910: 8905: 8900: 8895: 8890: 8885: 8879: 8877: 8869: 8868: 8866: 8865: 8860: 8855: 8850: 8845: 8840: 8835: 8830: 8825: 8820: 8815: 8810: 8805: 8800: 8795: 8793:Brothers Grimm 8790: 8785: 8780: 8775: 8770: 8765: 8760: 8754: 8752: 8748: 8747: 8745: 8744: 8739: 8734: 8729: 8724: 8719: 8714: 8709: 8704: 8699: 8694: 8689: 8684: 8678: 8676: 8670: 8669: 8667: 8666: 8661: 8656: 8651: 8646: 8641: 8636: 8631: 8626: 8621: 8616: 8611: 8606: 8601: 8595: 8593: 8586: 8580: 8579: 8577: 8576: 8571: 8564: 8559: 8554: 8549: 8544: 8539: 8534: 8529: 8524: 8517: 8512: 8511: 8510: 8505: 8495: 8493:Gothic fiction 8490: 8483: 8481:British Marine 8478: 8472: 8470: 8466: 8465: 8463: 8462: 8457: 8452: 8447: 8442: 8435: 8430: 8429: 8428: 8416: 8411: 8406: 8401: 8396: 8391: 8386: 8381: 8379:Gothic revival 8376: 8371: 8366: 8361: 8356: 8351: 8346: 8340: 8338: 8334: 8333: 8331: 8330: 8325: 8320: 8315: 8310: 8305: 8300: 8295: 8290: 8282: 8277: 8271: 8269: 8265: 8264: 8257: 8256: 8249: 8242: 8234: 8225: 8224: 8222: 8221: 8219:Richard Wagner 8216: 8211: 8209:Hector Berlioz 8206: 8200: 8197: 8196: 8189: 8188: 8181: 8174: 8166: 8157: 8156: 8154: 8153: 8143: 8125: 8117: 8116: 8113: 8112: 8110: 8109: 8108: 8107: 8097: 8096: 8095: 8090: 8085: 8080: 8070: 8064: 8062: 8058: 8057: 8055: 8054: 8047: 8042: 8037: 8032: 8027: 8020: 8015: 8009: 8007: 8003: 8002: 8000: 7999: 7994: 7992:Symphonic poem 7989: 7987:Romantic opera 7984: 7979: 7974: 7969: 7964: 7959: 7954: 7949: 7943: 7941: 7937: 7936: 7934: 7933: 7928: 7922: 7920: 7916: 7915: 7913: 7912: 7907: 7902: 7897: 7892: 7887: 7882: 7877: 7872: 7867: 7862: 7857: 7852: 7847: 7842: 7837: 7832: 7827: 7822: 7817: 7812: 7807: 7802: 7797: 7792: 7787: 7782: 7777: 7772: 7767: 7762: 7757: 7752: 7747: 7742: 7737: 7732: 7727: 7722: 7717: 7712: 7707: 7702: 7697: 7692: 7687: 7682: 7677: 7672: 7667: 7662: 7657: 7652: 7647: 7642: 7637: 7632: 7627: 7622: 7617: 7612: 7607: 7602: 7597: 7592: 7587: 7582: 7577: 7572: 7567: 7562: 7557: 7552: 7547: 7542: 7537: 7532: 7527: 7522: 7517: 7512: 7507: 7502: 7497: 7492: 7487: 7482: 7477: 7472: 7467: 7462: 7457: 7452: 7447: 7442: 7437: 7432: 7427: 7422: 7417: 7412: 7407: 7402: 7397: 7392: 7387: 7382: 7377: 7372: 7367: 7365:Félicien David 7362: 7357: 7352: 7347: 7342: 7337: 7332: 7327: 7322: 7317: 7312: 7307: 7302: 7297: 7292: 7287: 7282: 7277: 7272: 7267: 7262: 7257: 7252: 7247: 7242: 7237: 7232: 7227: 7222: 7217: 7211: 7209: 7203: 7202: 7197: 7194: 7193: 7190:Romantic music 7186: 7185: 7178: 7171: 7163: 7154: 7153: 7151: 7150: 7140: 7129: 7126: 7125: 7123: 7122: 7117: 7108: 7106: 7102: 7101: 7099: 7098: 7090: 7081: 7079: 7075: 7074: 7072: 7071: 7058: 7050: 7042: 7040: 7036: 7035: 7033: 7032: 7024: 7016: 7008: 6999: 6997: 6993: 6992: 6990: 6989: 6981: 6973: 6965: 6963: 6959: 6958: 6956: 6955: 6950: 6942: 6934: 6926: 6917: 6915: 6909: 6908: 6906: 6905: 6897: 6889: 6881: 6872: 6870: 6866: 6865: 6863: 6862: 6857: 6851: 6848: 6847: 6844:Hector Berlioz 6840: 6839: 6832: 6825: 6817: 6811: 6810: 6805: 6799: 6793: 6784: 6774: 6762: 6761:External links 6759: 6757: 6756: 6728: 6700: 6685:10.2307/951545 6669: 6637: 6613: 6592:(1): 107–115. 6578: 6563:10.2307/951546 6546: 6511: 6487: 6472:10.2307/932326 6455: 6440:10.2307/917417 6423: 6402:(2): 119–131. 6388: 6367:(4): 677–684. 6356: 6341:10.2307/950016 6324: 6309:10.2307/763644 6303:(4): 417–463. 6288: 6273:10.2307/932541 6267:(2): 171–199. 6255: 6253: 6250: 6248: 6247: 6225: 6201: 6184: 6167: 6143: 6137: 6116: 6110: 6094: 6088: 6076:Rosen, Charles 6072: 6066: 6053: 6047: 6031: 6025: 6009: 6003: 5985: 5979: 5966: 5960: 5947: 5941: 5928: 5910: 5892: 5886: 5866: 5860: 5842: 5818: 5812: 5796: 5790: 5762: 5742: 5736: 5723: 5706: 5689: 5672: 5666: 5649: 5643: 5630: 5624: 5611: 5605: 5591:Robert Simpson 5583: 5577: 5564: 5558: 5545: 5539: 5515: 5509: 5496: 5479: 5473: 5453: 5433: 5412: 5410: 5407: 5405: 5402: 5400: 5399: 5380: 5357: 5348: 5328: 5319: 5306: 5274: 5255: 5246: 5237: 5235:Hudson, p. 678 5225: 5212: 5210:Vallas, p. 663 5203: 5194: 5192:Sorrell, p. 63 5185: 5171: 5144: 5125: 5095: 5068: 5046:Sadie, Stanley 5038: 5029: 5020: 5008: 4999: 4990: 4972: 4963: 4954: 4941: 4932: 4923: 4914: 4905: 4896: 4887: 4885:Berlioz, p. 31 4878: 4869: 4850: 4830: 4821: 4805: 4778: 4769: 4760: 4736: 4727: 4704: 4677: 4675:Parker, p. 152 4668: 4659: 4650: 4641: 4617: 4608: 4599: 4576: 4557: 4548: 4536: 4524: 4515: 4506: 4493: 4484: 4475: 4466: 4457: 4448: 4439: 4430: 4415: 4406: 4389:Service, Tom. 4382: 4373: 4364: 4331: 4322: 4292: 4283: 4274: 4265: 4256: 4247: 4228:Rosen, Charles 4215: 4203: 4194: 4185: 4176: 4167: 4158: 4149: 4140: 4138:Barzun, p. 410 4131: 4129:Barzun, p. 407 4122: 4113: 4104: 4095: 4086: 4077: 4068: 4050:"Troyens, Les" 4036: 4024: 4015: 4006: 3997: 3988: 3979: 3970: 3961: 3947: 3938: 3936:Barzun, p. 285 3929: 3920: 3911: 3902: 3893: 3884: 3875: 3863: 3854: 3845: 3836: 3827: 3818: 3809: 3800: 3791: 3782: 3770: 3768:Barzun, p. 188 3761: 3752: 3740: 3721: 3712: 3685: 3676: 3664: 3655: 3646: 3634: 3609: 3600: 3591: 3589:Murphy, p. 111 3582: 3573: 3564: 3489: 3480: 3471: 3433: 3424: 3412: 3403: 3391: 3389:Barzun, p. 118 3382: 3380:Barzun, p. 113 3373: 3361: 3345: 3333: 3324: 3315: 3306: 3297: 3295:Barzun, p. 107 3288: 3279: 3265: 3256: 3247: 3238: 3229: 3220: 3211: 3202: 3193: 3184: 3168: 3155: 3146: 3137: 3128: 3114: 3105: 3096: 3065: 3056: 3047: 3038: 3029: 3027:Berlioz, p. 40 3020: 3011: 3009:Berlioz, p. 41 2999: 2990: 2981: 2972: 2963: 2954: 2945: 2936: 2831: 2822: 2788: 2779: 2770: 2760: 2758: 2755: 2753: 2752: 2740:Rafael Kubelík 2727: 2711: 2707:Melinda O'Neal 2698: 2665: 2656: 2647: 2638: 2625: 2615: 2595:Mily Balakirev 2586: 2577: 2568: 2559: 2546: 2536: 2527: 2518: 2505: 2492: 2483: 2474: 2435: 2423:The opera was 2416: 2401: 2388: 2307: 2305: 2302: 2300: 2297: 2285:Marc Minkowski 2281:Otto Klemperer 2269:Pierre Monteux 2261:Gabriel Pierné 2242:Kiri Te Kanawa 2234:Régine Crespin 2226:Leontyne Price 2194:Charles Dutoit 2123: 2120: 2092:Neville Cardus 2020: 2018: 2015: 1987:Hugh Macdonald 1964:Jacques Barzun 1960:Julien Tiersot 1916: 1913: 1911: 1908: 1869:Main article: 1866: 1863: 1829: 1826: 1731: 1728: 1600: 1597: 1479: 1476: 1377:, and often a 1312:Julian Rushton 1297: 1294: 1216: 1213: 1120: 1117: 988:Der Freischütz 970: 967: 815:Chrétien Urhan 762:Heinrich Heine 725: 722: 620:Camille Pleyel 583:, later Pleyel 541: 538: 466:Hugh Macdonald 458:Charles Kemble 383: 380: 271: 268: 217:Roman Catholic 172:His birthplace 163: 160: 158: 155: 15: 9: 6: 4: 3: 2: 10890: 10879: 10876: 10874: 10871: 10869: 10866: 10864: 10863:Opera critics 10861: 10859: 10856: 10854: 10851: 10849: 10846: 10844: 10841: 10839: 10836: 10834: 10831: 10829: 10826: 10824: 10821: 10819: 10816: 10814: 10811: 10809: 10806: 10804: 10801: 10799: 10796: 10794: 10791: 10789: 10786: 10784: 10781: 10779: 10776: 10774: 10771: 10769: 10766: 10764: 10761: 10759: 10756: 10754: 10751: 10749: 10746: 10745: 10743: 10733: 10723: 10721: 10711: 10709: 10699: 10697: 10692: 10687: 10685: 10675: 10674: 10671: 10659: 10658: 10647: 10646: 10640: 10639: 10630: 10624: 10623: 10619: 10615: 10612: 10610: 10607: 10606: 10605: 10602: 10600: 10597: 10595: 10592: 10590: 10587: 10585: 10582: 10580: 10577: 10575: 10572: 10570: 10567: 10565: 10562: 10560: 10557: 10555: 10552: 10550: 10547: 10545: 10542: 10540: 10537: 10536: 10534: 10530: 10524: 10521: 10519: 10516: 10514: 10511: 10509: 10506: 10504: 10501: 10499: 10496: 10494: 10491: 10489: 10486: 10484: 10481: 10479: 10476: 10474: 10471: 10469: 10466: 10464: 10461: 10459: 10456: 10454: 10451: 10449: 10446: 10444: 10441: 10439: 10436: 10434: 10431: 10430: 10428: 10426: 10422: 10416: 10413: 10411: 10408: 10406: 10403: 10401: 10398: 10396: 10393: 10391: 10388: 10386: 10383: 10381: 10378: 10376: 10373: 10371: 10368: 10366: 10363: 10361: 10358: 10356: 10353: 10351: 10348: 10346: 10343: 10341: 10338: 10336: 10333: 10331: 10328: 10326: 10323: 10321: 10318: 10316: 10313: 10311: 10308: 10306: 10303: 10301: 10298: 10296: 10293: 10291: 10288: 10286: 10283: 10281: 10278: 10276: 10273: 10271: 10268: 10266: 10263: 10261: 10258: 10256: 10253: 10251: 10248: 10246: 10243: 10241: 10238: 10236: 10233: 10231: 10228: 10226: 10223: 10221: 10218: 10216: 10213: 10211: 10208: 10206: 10203: 10201: 10198: 10196: 10193: 10191: 10188: 10186: 10183: 10181: 10178: 10177: 10175: 10173: 10169: 10163: 10160: 10158: 10155: 10153: 10150: 10148: 10145: 10143: 10140: 10138: 10135: 10133: 10130: 10128: 10125: 10123: 10120: 10118: 10115: 10113: 10110: 10108: 10105: 10103: 10100: 10098: 10095: 10093: 10090: 10088: 10085: 10083: 10080: 10078: 10075: 10073: 10070: 10068: 10065: 10063: 10060: 10058: 10055: 10053: 10050: 10048: 10045: 10043: 10040: 10038: 10035: 10033: 10030: 10028: 10025: 10023: 10020: 10018: 10015: 10013: 10010: 10008: 10005: 10003: 10000: 9999: 9997: 9995: 9991: 9981: 9978: 9976: 9973: 9971: 9968: 9966: 9963: 9961: 9958: 9956: 9953: 9951: 9948: 9946: 9943: 9942: 9940: 9936: 9930: 9927: 9925: 9922: 9920: 9917: 9915: 9912: 9911: 9909: 9905: 9899: 9896: 9894: 9891: 9889: 9886: 9884: 9881: 9879: 9876: 9874: 9871: 9869: 9866: 9864: 9861: 9859: 9856: 9854: 9851: 9849: 9846: 9844: 9841: 9839: 9836: 9835: 9833: 9829: 9823: 9820: 9818: 9815: 9813: 9810: 9808: 9805: 9803: 9800: 9798: 9795: 9793: 9790: 9788: 9785: 9784: 9782: 9778: 9772: 9769: 9767: 9764: 9762: 9759: 9757: 9754: 9752: 9749: 9747: 9744: 9742: 9739: 9737: 9734: 9733: 9731: 9727: 9721: 9718: 9716: 9713: 9711: 9708: 9706: 9703: 9701: 9698: 9696: 9693: 9692: 9690: 9686: 9680: 9677: 9675: 9672: 9670: 9667: 9665: 9662: 9660: 9657: 9655: 9652: 9650: 9647: 9645: 9642: 9640: 9637: 9635: 9632: 9630: 9627: 9625: 9622: 9620: 9617: 9615: 9612: 9610: 9607: 9605: 9602: 9601: 9599: 9595: 9589: 9586: 9584: 9581: 9579: 9576: 9574: 9571: 9569: 9566: 9564: 9561: 9559: 9556: 9554: 9551: 9549: 9546: 9545: 9543: 9539: 9533: 9530: 9528: 9525: 9523: 9520: 9518: 9515: 9513: 9510: 9509: 9507: 9503: 9497: 9494: 9492: 9489: 9487: 9484: 9482: 9479: 9477: 9474: 9472: 9469: 9467: 9464: 9463: 9461: 9457: 9454: 9452: 9448: 9438: 9435: 9433: 9430: 9428: 9425: 9423: 9420: 9418: 9415: 9413: 9410: 9408: 9405: 9403: 9400: 9398: 9395: 9393: 9390: 9388: 9385: 9383: 9380: 9378: 9375: 9373: 9370: 9368: 9365: 9363: 9360: 9358: 9355: 9353: 9352:Nikolai Gogol 9350: 9348: 9345: 9343: 9340: 9338: 9335: 9333: 9330: 9328: 9325: 9323: 9320: 9318: 9315: 9313: 9310: 9308: 9305: 9303: 9300: 9299: 9297: 9293: 9287: 9284: 9282: 9279: 9277: 9274: 9272: 9269: 9267: 9264: 9262: 9259: 9257: 9254: 9252: 9249: 9247: 9244: 9243: 9241: 9237: 9231: 9228: 9226: 9223: 9221: 9218: 9216: 9213: 9211: 9208: 9206: 9203: 9201: 9198: 9196: 9193: 9192: 9190: 9186: 9180: 9177: 9175: 9172: 9170: 9167: 9165: 9162: 9160: 9157: 9155: 9152: 9151: 9149: 9145: 9139: 9136: 9134: 9131: 9129: 9126: 9124: 9121: 9119: 9116: 9114: 9111: 9110: 9108: 9104: 9098: 9095: 9093: 9090: 9088: 9085: 9083: 9080: 9078: 9075: 9073: 9070: 9068: 9065: 9064: 9062: 9058: 9052: 9049: 9047: 9044: 9042: 9039: 9037: 9034: 9032: 9029: 9027: 9024: 9022: 9019: 9017: 9014: 9012: 9009: 9008: 9006: 9004: 9000: 8994: 8991: 8989: 8986: 8984: 8983:P. B. Shelley 8981: 8979: 8976: 8974: 8971: 8969: 8966: 8964: 8963:Mary Robinson 8961: 8959: 8956: 8954: 8951: 8949: 8946: 8944: 8941: 8939: 8936: 8934: 8931: 8929: 8926: 8924: 8921: 8919: 8916: 8914: 8911: 8909: 8906: 8904: 8901: 8899: 8896: 8894: 8891: 8889: 8886: 8884: 8881: 8880: 8878: 8876: 8870: 8864: 8861: 8859: 8856: 8854: 8851: 8849: 8846: 8844: 8841: 8839: 8836: 8834: 8831: 8829: 8826: 8824: 8821: 8819: 8816: 8814: 8811: 8809: 8806: 8804: 8801: 8799: 8796: 8794: 8791: 8789: 8786: 8784: 8781: 8779: 8776: 8774: 8771: 8769: 8766: 8764: 8761: 8759: 8756: 8755: 8753: 8749: 8743: 8740: 8738: 8735: 8733: 8730: 8728: 8725: 8723: 8720: 8718: 8715: 8713: 8710: 8708: 8705: 8703: 8700: 8698: 8695: 8693: 8692:Chateaubriand 8690: 8688: 8685: 8683: 8680: 8679: 8677: 8675: 8671: 8665: 8662: 8660: 8657: 8655: 8652: 8650: 8647: 8645: 8642: 8640: 8637: 8635: 8632: 8630: 8627: 8625: 8622: 8620: 8617: 8615: 8612: 8610: 8607: 8605: 8602: 8600: 8597: 8596: 8594: 8590: 8587: 8585: 8581: 8575: 8572: 8570: 8569: 8565: 8563: 8560: 8558: 8555: 8553: 8550: 8548: 8545: 8543: 8540: 8538: 8535: 8533: 8530: 8528: 8525: 8523: 8522: 8521:Mal du siècle 8518: 8516: 8513: 8509: 8506: 8504: 8501: 8500: 8499: 8496: 8494: 8491: 8489: 8488: 8484: 8482: 8479: 8477: 8474: 8473: 8471: 8467: 8461: 8458: 8456: 8453: 8451: 8448: 8446: 8443: 8441: 8440: 8436: 8434: 8431: 8427: 8426: 8422: 8421: 8420: 8417: 8415: 8412: 8410: 8407: 8405: 8402: 8400: 8397: 8395: 8392: 8390: 8387: 8385: 8382: 8380: 8377: 8375: 8372: 8370: 8367: 8365: 8362: 8360: 8357: 8355: 8352: 8350: 8347: 8345: 8342: 8341: 8339: 8335: 8329: 8326: 8324: 8321: 8319: 8316: 8314: 8311: 8309: 8306: 8304: 8301: 8299: 8296: 8294: 8291: 8289: 8286: 8283: 8281: 8278: 8276: 8273: 8272: 8270: 8266: 8262: 8255: 8250: 8248: 8243: 8241: 8236: 8235: 8232: 8220: 8217: 8215: 8212: 8210: 8207: 8205: 8202: 8201: 8198: 8194: 8187: 8182: 8180: 8175: 8173: 8168: 8167: 8164: 8152: 8148: 8144: 8142: 8134: 8133: 8130: 8129: 8123: 8122: 8114: 8106: 8103: 8102: 8101: 8098: 8094: 8091: 8089: 8086: 8084: 8081: 8079: 8076: 8075: 8074: 8071: 8069: 8066: 8065: 8063: 8059: 8052: 8048: 8046: 8043: 8041: 8038: 8036: 8033: 8031: 8028: 8026: 8025: 8021: 8019: 8016: 8014: 8011: 8010: 8008: 8004: 7998: 7995: 7993: 7990: 7988: 7985: 7983: 7980: 7978: 7975: 7973: 7970: 7968: 7965: 7963: 7960: 7958: 7955: 7953: 7950: 7948: 7945: 7944: 7942: 7938: 7932: 7929: 7927: 7924: 7923: 7921: 7917: 7911: 7908: 7906: 7903: 7901: 7898: 7896: 7893: 7891: 7888: 7886: 7883: 7881: 7878: 7876: 7873: 7871: 7868: 7866: 7863: 7861: 7858: 7856: 7853: 7851: 7848: 7846: 7843: 7841: 7838: 7836: 7835:J. Strauss II 7833: 7831: 7828: 7826: 7823: 7821: 7818: 7816: 7813: 7811: 7808: 7806: 7803: 7801: 7798: 7796: 7793: 7791: 7788: 7786: 7783: 7781: 7778: 7776: 7773: 7771: 7768: 7766: 7763: 7761: 7758: 7756: 7753: 7751: 7748: 7746: 7743: 7741: 7738: 7736: 7733: 7731: 7728: 7726: 7723: 7721: 7718: 7716: 7713: 7711: 7708: 7706: 7703: 7701: 7698: 7696: 7693: 7691: 7688: 7686: 7683: 7681: 7678: 7676: 7673: 7671: 7668: 7666: 7663: 7661: 7658: 7656: 7653: 7651: 7648: 7646: 7643: 7641: 7638: 7636: 7633: 7631: 7628: 7626: 7623: 7621: 7618: 7616: 7613: 7611: 7608: 7606: 7603: 7601: 7598: 7596: 7593: 7591: 7588: 7586: 7583: 7581: 7578: 7576: 7573: 7571: 7568: 7566: 7563: 7561: 7558: 7556: 7553: 7551: 7548: 7546: 7543: 7541: 7538: 7536: 7533: 7531: 7528: 7526: 7523: 7521: 7518: 7516: 7513: 7511: 7508: 7506: 7503: 7501: 7498: 7496: 7493: 7491: 7488: 7486: 7483: 7481: 7478: 7476: 7473: 7471: 7468: 7466: 7463: 7461: 7458: 7456: 7453: 7451: 7448: 7446: 7443: 7441: 7438: 7436: 7433: 7431: 7428: 7426: 7423: 7421: 7418: 7416: 7413: 7411: 7408: 7406: 7403: 7401: 7398: 7396: 7393: 7391: 7388: 7386: 7383: 7381: 7378: 7376: 7373: 7371: 7368: 7366: 7363: 7361: 7358: 7356: 7353: 7351: 7348: 7346: 7343: 7341: 7338: 7336: 7333: 7331: 7328: 7326: 7323: 7321: 7318: 7316: 7313: 7311: 7308: 7306: 7303: 7301: 7298: 7296: 7293: 7291: 7288: 7286: 7283: 7281: 7278: 7276: 7273: 7271: 7268: 7266: 7263: 7261: 7258: 7256: 7253: 7251: 7248: 7246: 7243: 7241: 7238: 7236: 7233: 7231: 7228: 7226: 7223: 7221: 7218: 7216: 7213: 7212: 7210: 7206:Composers and 7204: 7200: 7195: 7191: 7184: 7179: 7177: 7172: 7170: 7165: 7164: 7161: 7149: 7145: 7141: 7139: 7131: 7130: 7127: 7121: 7118: 7115: 7114: 7110: 7109: 7107: 7103: 7096: 7095: 7091: 7088: 7087: 7083: 7082: 7080: 7076: 7069: 7065: 7063: 7059: 7057: 7055: 7051: 7049: 7048: 7044: 7043: 7041: 7037: 7031: 7029: 7025: 7023: 7021: 7017: 7015: 7013: 7009: 7007: 7005: 7001: 7000: 6998: 6994: 6988: 6986: 6982: 6980: 6978: 6974: 6972: 6971: 6967: 6966: 6964: 6960: 6954: 6951: 6949: 6947: 6943: 6941: 6939: 6935: 6933: 6931: 6927: 6925: 6923: 6919: 6918: 6916: 6914:and overtures 6910: 6904: 6902: 6898: 6896: 6894: 6890: 6888: 6886: 6882: 6880: 6878: 6874: 6873: 6871: 6867: 6861: 6858: 6856: 6855:List of works 6853: 6852: 6849: 6845: 6838: 6833: 6831: 6826: 6824: 6819: 6818: 6815: 6809: 6806: 6803: 6800: 6797: 6794: 6792: 6788: 6785: 6782: 6778: 6775: 6772: 6768: 6765: 6764: 6750: 6746: 6742: 6738: 6734: 6729: 6722: 6718: 6714: 6710: 6706: 6701: 6694: 6690: 6686: 6682: 6678: 6674: 6673:Warrack, John 6670: 6663: 6659: 6655: 6651: 6647: 6643: 6638: 6631: 6627: 6623: 6619: 6614: 6607: 6603: 6599: 6595: 6591: 6587: 6583: 6582:Murphy, Kerry 6579: 6572: 6568: 6564: 6560: 6556: 6552: 6547: 6540: 6536: 6532: 6528: 6524: 6520: 6516: 6512: 6505: 6501: 6497: 6493: 6488: 6481: 6477: 6473: 6469: 6465: 6461: 6456: 6449: 6445: 6441: 6437: 6433: 6429: 6424: 6417: 6413: 6409: 6405: 6401: 6397: 6393: 6389: 6382: 6378: 6374: 6370: 6366: 6362: 6357: 6350: 6346: 6342: 6338: 6334: 6330: 6325: 6318: 6314: 6310: 6306: 6302: 6298: 6294: 6289: 6282: 6278: 6274: 6270: 6266: 6262: 6257: 6256: 6244: 6240: 6236: 6235: 6230: 6226: 6222: 6218: 6214: 6210: 6206: 6202: 6198: 6194: 6190: 6185: 6181: 6177: 6173: 6168: 6164: 6160: 6156: 6152: 6148: 6144: 6140: 6134: 6130: 6126: 6122: 6117: 6113: 6107: 6103: 6099: 6095: 6091: 6085: 6081: 6077: 6073: 6069: 6063: 6059: 6054: 6050: 6044: 6040: 6036: 6035:Parker, Roger 6032: 6028: 6022: 6018: 6014: 6010: 6006: 6000: 5996: 5995: 5990: 5986: 5982: 5976: 5972: 5967: 5963: 5957: 5953: 5948: 5944: 5938: 5934: 5929: 5917: 5913: 5907: 5903: 5902: 5897: 5893: 5889: 5883: 5878: 5877: 5871: 5867: 5863: 5857: 5853: 5852: 5847: 5843: 5839: 5835: 5831: 5827: 5823: 5819: 5815: 5809: 5805: 5801: 5797: 5793: 5787: 5783: 5779: 5774: 5773: 5767: 5763: 5759: 5755: 5751: 5747: 5743: 5739: 5733: 5729: 5724: 5720: 5716: 5712: 5707: 5703: 5699: 5695: 5690: 5686: 5682: 5678: 5673: 5669: 5663: 5659: 5655: 5650: 5646: 5640: 5636: 5631: 5627: 5621: 5617: 5612: 5608: 5602: 5598: 5597: 5592: 5588: 5587:Cairns, David 5584: 5580: 5574: 5570: 5565: 5561: 5555: 5551: 5546: 5542: 5536: 5532: 5528: 5524: 5520: 5516: 5512: 5506: 5502: 5497: 5493: 5489: 5485: 5480: 5476: 5470: 5465: 5464: 5458: 5454: 5450: 5446: 5442: 5438: 5434: 5430: 5426: 5422: 5418: 5414: 5413: 5396: 5392: 5389: 5384: 5378: 5374: 5370: 5366: 5361: 5352: 5345: 5341: 5338: 5332: 5323: 5316: 5310: 5303: 5302: 5297: 5293: 5290: 5286: 5281: 5279: 5271: 5267: 5264: 5259: 5250: 5241: 5232: 5230: 5222: 5216: 5207: 5201:Hadow, p. 310 5198: 5189: 5180: 5178: 5176: 5165: 5161: 5157: 5154: 5148: 5141: 5137: 5134: 5129: 5119: 5115: 5111: 5108: 5102: 5100: 5089: 5085: 5081: 5078: 5072: 5062: 5058: 5054: 5051: 5047: 5042: 5033: 5024: 5015: 5013: 5003: 4994: 4985: 4983: 4981: 4979: 4977: 4970:Barzun, p. 12 4967: 4958: 4951: 4945: 4936: 4927: 4918: 4909: 4900: 4891: 4882: 4873: 4866: 4862: 4859: 4854: 4844: 4840: 4834: 4825: 4819: 4815: 4809: 4802: 4798: 4794: 4791: 4785: 4783: 4773: 4764: 4757: 4756:The Spectator 4753: 4749: 4746: 4740: 4731: 4724: 4720: 4717: 4711: 4709: 4698: 4694: 4690: 4687: 4681: 4672: 4663: 4654: 4645: 4638: 4637:The Telegraph 4634: 4630: 4627: 4621: 4612: 4603: 4597: 4593: 4586: 4580: 4573: 4569: 4566: 4561: 4552: 4545: 4540: 4531: 4529: 4519: 4510: 4503: 4497: 4488: 4479: 4473:Bonds, p. 408 4470: 4461: 4452: 4446:Bonds, p. 417 4443: 4434: 4427: 4422: 4420: 4410: 4403: 4399: 4395: 4392: 4386: 4377: 4368: 4358: 4354: 4350: 4347: 4343: 4338: 4336: 4326: 4319: 4315: 4312: 4308: 4304: 4301: 4296: 4287: 4278: 4269: 4260: 4251: 4244: 4240: 4236: 4233: 4229: 4224: 4222: 4220: 4210: 4208: 4198: 4189: 4180: 4171: 4162: 4153: 4144: 4135: 4126: 4117: 4108: 4099: 4090: 4081: 4072: 4066: 4062: 4055: 4051: 4045: 4043: 4041: 4031: 4029: 4019: 4010: 4001: 3992: 3983: 3974: 3965: 3956: 3954: 3952: 3942: 3933: 3924: 3915: 3906: 3897: 3888: 3879: 3870: 3868: 3858: 3849: 3840: 3831: 3822: 3813: 3804: 3795: 3786: 3777: 3775: 3765: 3756: 3747: 3745: 3737: 3733: 3730: 3725: 3716: 3706: 3702: 3698: 3695: 3689: 3680: 3671: 3669: 3659: 3650: 3641: 3639: 3628: 3624: 3618: 3616: 3614: 3604: 3595: 3586: 3577: 3568: 3558: 3554: 3550: 3547: 3543: 3539: 3535: 3531: 3528: 3527:"Dukas, Paul" 3524: 3520: 3517: 3513: 3509: 3505: 3502: 3498: 3493: 3484: 3475: 3467: 3461: 3457: 3453: 3450: 3447:Raby, Peter. 3444: 3442: 3440: 3438: 3428: 3419: 3417: 3407: 3398: 3396: 3386: 3377: 3368: 3366: 3356: 3354: 3352: 3350: 3340: 3338: 3328: 3319: 3310: 3301: 3292: 3286:Barzun, p. 98 3283: 3274: 3272: 3270: 3260: 3251: 3245:Bonds, p. 419 3242: 3233: 3224: 3215: 3206: 3200:Barzun, p. 49 3197: 3188: 3179: 3177: 3175: 3173: 3165: 3159: 3153:Barzun, p. 47 3150: 3141: 3132: 3126:Barzun, p. 41 3123: 3121: 3119: 3109: 3100: 3090: 3086: 3082: 3079: 3075: 3069: 3060: 3051: 3042: 3033: 3024: 3015: 3006: 3004: 2994: 2985: 2976: 2967: 2958: 2949: 2940: 2932: 2928: 2922: 2906: 2898: 2894: 2888: 2886: 2884: 2882: 2880: 2878: 2876: 2874: 2872: 2870: 2868: 2866: 2864: 2862: 2860: 2858: 2856: 2854: 2852: 2850: 2848: 2846: 2844: 2842: 2840: 2838: 2836: 2829:Barzun, p. 27 2826: 2818: 2812: 2808: 2804: 2801: 2795: 2793: 2783: 2777:Barzun, p. 15 2774: 2765: 2761: 2749: 2745: 2741: 2737: 2731: 2723: 2722: 2715: 2708: 2702: 2695: 2691: 2687: 2683: 2682:Lord Harewood 2679: 2675: 2669: 2660: 2651: 2642: 2635: 2629: 2619: 2612: 2608: 2604: 2600: 2596: 2590: 2581: 2572: 2563: 2556: 2550: 2540: 2531: 2522: 2515: 2509: 2502: 2496: 2487: 2478: 2471: 2470: 2465: 2464: 2459: 2458: 2453: 2452: 2447: 2446: 2439: 2432: 2428: 2427: 2420: 2413: 2412: 2405: 2398: 2392: 2384: 2373: 2367: 2359: 2358: 2349: 2319: 2312: 2308: 2296: 2294: 2290: 2286: 2282: 2278: 2274: 2273:Charles Munch 2270: 2266: 2262: 2258: 2253: 2251: 2247: 2246:Karen Cargill 2243: 2239: 2238:Jessye Norman 2235: 2231: 2227: 2223: 2219: 2215: 2211: 2207: 2203: 2200:; Nelson and 2199: 2195: 2191: 2186: 2184: 2180: 2176: 2172: 2168: 2164: 2160: 2156: 2151: 2149: 2145: 2142: 2138: 2134: 2130: 2119: 2116: 2112: 2107: 2105: 2101: 2096: 2093: 2089: 2085: 2081: 2076: 2071: 2066: 2064: 2060: 2054: 2050: 2048: 2044: 2040: 2033: 2030: 2024: 2014: 2011: 2007: 2003: 1998: 1997: 1992: 1988: 1984: 1980: 1975: 1973: 1969: 1965: 1961: 1957: 1953: 1948: 1946: 1942: 1938: 1931:(1846). 1930: 1926: 1921: 1907: 1905: 1904: 1899: 1895: 1891: 1887: 1882: 1880: 1879: 1872: 1862: 1860: 1855: 1850: 1848: 1844: 1843: 1837: 1836: 1825: 1822: 1818: 1814: 1811: 1807: 1803: 1799: 1797: 1793: 1789: 1785: 1781: 1777: 1772: 1769: 1765: 1761: 1757: 1753: 1745: 1741: 1736: 1727: 1725: 1724: 1719: 1717: 1713: 1709: 1704: 1700: 1699: 1694: 1690: 1689: 1683: 1681: 1676: 1672: 1671: 1666: 1662: 1658: 1657: 1651: 1649: 1645: 1641: 1637: 1633: 1629: 1628: 1622: 1615: 1611: 1610: 1605: 1596: 1594: 1593: 1587: 1584: 1580: 1576: 1575: 1569: 1567: 1563: 1559: 1555: 1551: 1547: 1546: 1541: 1539: 1534: 1530: 1529: 1520: 1507: 1506: 1501: 1497: 1493: 1490: 1486: 1474: 1472: 1468: 1464: 1460: 1454: 1452: 1448: 1447:valve trumpet 1444: 1443:bass clarinet 1440: 1435: 1431: 1427: 1423: 1422:orchestration 1415: 1414: 1409: 1404: 1400: 1398: 1394: 1390: 1389: 1384: 1380: 1376: 1375:root position 1372: 1368: 1367:Charles Rosen 1363: 1359: 1358:Pierre Boulez 1354: 1352: 1351:phrase carrée 1346: 1339: 1338: 1332: 1328: 1326: 1322: 1318: 1313: 1309: 1303: 1293: 1291: 1286: 1281: 1280:St Petersburg 1277: 1273: 1268: 1266: 1261: 1259: 1254: 1249: 1247: 1243: 1238: 1233: 1226: 1221: 1212: 1210: 1206: 1202: 1198: 1194: 1193: 1188: 1183: 1181: 1177: 1172: 1169: 1168:Covent Garden 1165: 1160: 1156: 1155: 1150: 1147:and his epic 1146: 1145:The Damnation 1142: 1138: 1130: 1125: 1116: 1114: 1109: 1107: 1102: 1098: 1092: 1088: 1084: 1082: 1078: 1074: 1070: 1066: 1065: 1059: 1057: 1048: 1044: 1040: 1038: 1034: 1030: 1024: 1022: 1018: 1014: 1013:Eugène Scribe 1010: 1006: 1005: 1000: 999: 994: 990: 989: 984: 975: 966: 964: 959: 957: 956: 951: 946: 941: 936: 933: 929: 925: 921: 913: 912: 906: 902: 900: 895: 894: 889: 888:Les Invalides 885: 881: 876: 874: 873: 868: 864: 860: 856: 852: 848: 844: 840: 836: 832: 828: 827:Le Rénovateur 824: 818: 816: 812: 808: 804: 800: 797: 790: 787:Paganini, by 785: 781: 779: 773: 771: 767: 763: 759: 755: 751: 747: 743: 739: 735: 731: 721: 717: 715: 711: 707: 706: 701: 700: 695: 694: 689: 688: 683: 682: 677: 673: 672:Horace Vernet 666: 662: 657: 653: 651: 647: 643: 642: 637: 636: 630: 625: 621: 617: 613: 608: 606: 602: 598: 594: 590: 582: 578: 574: 572: 568: 564: 558: 553: 551: 547: 537: 535: 534: 529: 525: 521: 517: 516: 511: 507: 503: 499: 495: 489: 487: 483: 478: 474: 469: 467: 463: 459: 455: 451: 450: 445: 444: 439: 435: 431: 430:Prix cantatas 427: 423: 419: 411: 407: 403: 401: 400: 395: 391: 390: 379: 375: 373: 369: 365: 361: 356: 354: 350: 346: 342: 338: 334: 333:Étienne Méhul 329: 327: 326: 321: 317: 316:Opéra-Comique 313: 300: 296: 291: 287: 285: 281: 277: 267: 265: 264: 259: 255: 254: 250: 244: 242: 237: 235: 231: 227: 222: 218: 214: 210: 195: 191: 189: 185: 181: 177: 173: 169: 154: 152: 151: 146: 142: 141: 136: 132: 128: 123: 121: 117: 112: 110: 106: 100: 98: 97: 92: 91: 86: 85: 80: 79: 74: 73: 68: 67: 62: 58: 57: 52: 51: 46: 42: 35: 30: 26: 22: 10650: 10643: 10636: 10620: 10340:Porto-Alegre 9994:Philosophers 9878:Rachmaninoff 9562: 9327:Chavchavadze 9317:Baratashvili 9077:João de Deus 9046:Wincenty Pol 8838:Küchelbecker 8566: 8532:Noble savage 8519: 8485: 8460:Wallenrodism 8437: 8423: 8354:Coppet group 8288:(literature) 8208: 8126: 8119: 8022: 8006:Other topics 7830:J. Strauss I 7720:Rachmaninoff 7475:Gretchaninov 7274: 7111: 7092: 7084: 7061: 7054:Prix de Rome 7053: 7045: 7027: 7019: 7011: 7003: 6984: 6976: 6968: 6945: 6937: 6929: 6921: 6900: 6892: 6884: 6876: 6843: 6783:(ChoralWiki) 6732: 6704: 6676: 6645: 6641: 6624:(4): 19–25. 6621: 6617: 6589: 6585: 6554: 6550: 6525:(1): 37–44. 6522: 6518: 6495: 6491: 6466:(1): 31–67. 6463: 6459: 6431: 6427: 6399: 6395: 6392:Dean, Winton 6364: 6360: 6332: 6328: 6300: 6296: 6292: 6264: 6260: 6233: 6212: 6205:Vallas, Léon 6188: 6171: 6154: 6120: 6101: 6079: 6057: 6038: 6016: 5993: 5970: 5951: 5932: 5920:. Retrieved 5900: 5875: 5850: 5829: 5822:Hadow, Henry 5803: 5771: 5749: 5746:Evans, Edwin 5727: 5710: 5693: 5676: 5657: 5634: 5615: 5595: 5568: 5549: 5522: 5519:Bloom, Peter 5500: 5483: 5462: 5440: 5420: 5388:"Symphonies" 5383: 5360: 5351: 5331: 5322: 5314: 5309: 5299: 5258: 5249: 5240: 5220: 5215: 5206: 5197: 5188: 5163: 5147: 5128: 5117: 5087: 5071: 5060: 5041: 5032: 5023: 5006:Reid, p. 189 5002: 4993: 4966: 4957: 4949: 4944: 4935: 4926: 4917: 4908: 4899: 4890: 4881: 4872: 4853: 4842: 4833: 4824: 4808: 4800: 4776:Boyd, p. 235 4772: 4763: 4755: 4739: 4730: 4696: 4680: 4671: 4662: 4653: 4644: 4636: 4620: 4611: 4602: 4579: 4560: 4551: 4543: 4539: 4518: 4509: 4501: 4496: 4487: 4478: 4469: 4460: 4451: 4442: 4433: 4425: 4409: 4402:The Guardian 4401: 4385: 4376: 4367: 4356: 4325: 4295: 4286: 4277: 4268: 4259: 4250: 4242: 4197: 4188: 4179: 4170: 4161: 4152: 4143: 4134: 4125: 4116: 4107: 4098: 4089: 4080: 4071: 4053: 4018: 4009: 4000: 3991: 3982: 3973: 3964: 3941: 3932: 3923: 3914: 3905: 3896: 3887: 3878: 3873:Evans, p. 35 3857: 3848: 3839: 3830: 3821: 3812: 3803: 3794: 3785: 3764: 3755: 3750:Evans, p. 32 3724: 3715: 3704: 3688: 3679: 3658: 3649: 3644:Evans, p. 31 3626: 3603: 3594: 3585: 3576: 3567: 3556: 3492: 3483: 3474: 3459: 3427: 3406: 3385: 3376: 3327: 3322:Evans, p. 27 3318: 3309: 3300: 3291: 3282: 3259: 3250: 3241: 3232: 3223: 3214: 3205: 3196: 3187: 3163: 3158: 3149: 3140: 3131: 3108: 3099: 3088: 3073: 3068: 3059: 3050: 3041: 3032: 3023: 3014: 2993: 2984: 2975: 2966: 2957: 2948: 2939: 2909:. Retrieved 2896: 2825: 2810: 2782: 2773: 2764: 2747: 2730: 2719: 2714: 2701: 2690:Roger Parker 2668: 2659: 2650: 2641: 2628: 2618: 2589: 2580: 2571: 2562: 2554: 2549: 2539: 2530: 2521: 2513: 2508: 2495: 2486: 2477: 2467: 2461: 2455: 2449: 2443: 2438: 2426:Les Danaïdes 2424: 2419: 2409: 2404: 2391: 2311: 2256: 2254: 2250:Susan Graham 2217: 2213: 2205: 2189: 2187: 2182: 2178: 2174: 2170: 2166: 2162: 2158: 2154: 2152: 2147: 2143: 2140: 2136: 2132: 2128: 2125: 2108: 2099: 2097: 2084:César Franck 2077: 2073: 2068: 2058: 2056: 2052: 2042: 2035: 2028: 2026: 2022: 2009: 2005: 1994: 1990: 1979:David Cairns 1976: 1955: 1949: 1934: 1928: 1901: 1897: 1893: 1889: 1885: 1883: 1876: 1874: 1858: 1854:John Warrack 1851: 1839: 1833: 1831: 1820: 1816: 1815: 1801: 1800: 1795: 1792:Napoleon III 1775: 1773: 1749: 1721: 1720: 1715: 1711: 1707: 1696: 1692: 1686: 1684: 1679: 1668: 1654: 1652: 1625: 1623: 1619: 1613: 1607: 1590: 1588: 1572: 1570: 1557: 1543: 1542: 1532: 1526: 1524: 1518: 1503: 1499: 1481: 1470: 1466: 1462: 1458: 1456: 1450: 1434:Gordon Jacob 1419: 1411: 1392: 1386: 1355: 1350: 1347: 1343: 1335: 1324: 1320: 1307: 1305: 1276:yellow fever 1269: 1262: 1252: 1250: 1245: 1244: 1241: 1225:Pierre Petit 1223:Portrait by 1208: 1200: 1196: 1190: 1184: 1179: 1175: 1173: 1163: 1152: 1148: 1144: 1136: 1134: 1110: 1096: 1094: 1090: 1085: 1076: 1072: 1068: 1062: 1060: 1052: 1031:, Wagner in 1025: 1020: 1016: 1008: 1002: 996: 986: 982: 980: 960: 953: 944: 939: 937: 931: 923: 917: 909: 898: 891: 883: 877: 870: 866: 859:counterpoint 834: 830: 826: 822: 819: 810: 802: 796:Stradivarius 793: 774: 737: 733: 729: 727: 718: 709: 703: 697: 691: 685: 679: 669: 665:Émile Signol 661:Villa Medici 649: 645: 639: 633: 612:Villa Medici 609: 604: 597:David Cairns 592: 586: 570: 566: 562: 560: 555: 549: 543: 531: 523: 513: 490: 476: 472: 470: 447: 441: 433: 422:Prix de Rome 418:Anton Reicha 415: 397: 393: 387: 385: 376: 371: 367: 359: 357: 330: 323: 308: 276:baccalauréat 273: 261: 251: 245: 238: 220: 211:. He was an 206: 167: 165: 148: 138: 134: 130: 126: 124: 119: 113: 105:Prix de Rome 101: 94: 88: 82: 76: 70: 64: 54: 48: 40: 39: 25: 10758:1869 deaths 10753:1803 births 10330:Michałowski 10162:Wackenroder 10127:F. Schlegel 10122:A. Schlegel 9898:Tchaikovsky 9787:Bortkiewicz 9659:R. Schumann 9654:C. Schumann 9619:Kalkbrenner 9588:Saint-Saëns 8893:Anne Brontë 8778:Eichendorff 8763:B. v. Arnim 8758:A. v. Arnim 8568:Weltschmerz 8527:Medievalism 8476:Blue flower 8404:Nationalist 8349:Bohemianism 8261:Romanticism 8214:Franz Liszt 8073:Romanticism 7855:Tchaikovsky 7790:R. Schumann 7785:C. Schumann 7770:Saint-Saëns 7665:Niedermeyer 7555:Leoncavallo 7525:Kalkbrenner 7300:Bortkiewicz 7116:(1942 film) 6901:Les Troyens 6735:: 133–142. 6679:: 252–254. 6648:: 105–118. 5800:Haar, James 4767:Haar, p. 89 4615:Haar, p. 92 3598:Bent, p. 41 3512:Andrew Lamb 2748:Les Troyens 2744:Colin Davis 2230:Janet Baker 2198:John Nelson 2190:Les Troyens 2179:Les Troyens 2148:Les Troyens 2100:The Trojans 2063:Léon Vallas 2047:Henry Hadow 2002:Bärenreiter 1968:Winton Dean 1903:feuilletons 1892:(1859) and 1859:33 Mélodies 1847:Victor Hugo 1810:Monte Carlo 1796:L'Impériale 1712:Les Troyens 1693:Les Troyens 1680:Les Troyens 1656:Les Troyens 1614:Les Troyens 1489:sonata form 1471:Les Troyens 1463:Les Troyens 1439:cor anglais 1430:pedal point 1379:tonic chord 1334:Opening of 1253:Les Troyens 1246:Les Troyens 1209:Les Troyens 1201:Les Troyens 1149:Les Troyens 1127:Berlioz by 1073:Le corsaire 1056:Marie Recio 1047:Marie Recio 1039:in Berlin. 993:recitatives 770:George Sand 766:Victor Hugo 740:, in which 699:Les Troyens 663:, 1832, by 601:Franz Liszt 526:(Berlioz's 438:Shakespeare 360:Le Corsaire 301:, Paris, c. 209:acupuncture 202: 1840 184:département 131:Les Troyens 78:Les Troyens 32:Berlioz by 10742:Categories 10205:Chassériau 10180:Aivazovsky 9888:Rubinstein 9873:Mussorgsky 9822:Wieniawski 9807:Paderewski 9649:Moszkowski 9432:Vörösmarty 9422:Shevchenko 9276:Longfellow 9200:Batyushkov 9195:Baratynsky 9164:Espronceda 9031:Mickiewicz 9026:Malczewski 8993:Wordsworth 8978:M. Shelley 8933:de Quincey 8798:Günderrode 8682:Baudelaire 8562:Wanderlust 8399:Lake Poets 8061:Background 7962:Intermezzo 7895:Wieniawski 7875:Vieuxtemps 7840:R. Strauss 7765:Rubinstein 7690:Paderewski 7660:Mussorgsky 7655:Moszkowski 7630:Mercadante 6912:Symphonies 5654:Alan Blyth 4346:"Symphony" 2911:30 October 2757:References 2607:Mussorgsky 2122:Recordings 1752:Revolution 1661:James Haar 1478:Symphonies 1300:See also: 1237:Montmartre 855:coloratura 778:Montmartre 480:composers 412:as Ophelia 10720:Biography 10645:Modernism 10305:Kiprensky 10265:Géricault 10250:Friedrich 10240:Delacroix 10215:Constable 10195:Bonington 10185:Bierstadt 10137:Senancour 10112:Schelling 10067:Lamennais 10062:Khomyakov 10027:Coleridge 10022:Chaadayev 9929:Stanković 9924:Mokranjac 9843:Balakirev 9802:Moniuszko 9751:Donizetti 9746:Cherubini 9644:Meyerbeer 9629:Marschner 9604:Beethoven 9517:Moscheles 9451:Musicians 9437:Wergeland 9402:Orbeliani 9357:Grundtvig 9261:Hawthorne 9230:Zhukovsky 9225:Vyazemsky 9210:Lermontov 9169:Gutiérrez 9128:Radičević 9092:Herculano 9016:Krasiński 8958:Radcliffe 8928:Coleridge 8903:E. Brontë 8898:C. Brontë 8828:Jean Paul 8823:Hölderlin 8712:Lamartine 8649:Magalhães 8639:Guimarães 8547:Pantheism 8537:Nostalgia 8389:Indianism 8337:Movements 8268:Countries 7675:Offenbach 7650:Moscheles 7645:Moniuszko 7640:Meyerbeer 7595:Marschner 7580:MacDowell 7395:Donizetti 7340:Cherubini 7330:Chaminade 7255:Beethoven 7240:Balakirev 7230:Atterberg 7208:musicians 7006:, Op. 14b 6953:Overtures 6707:: 63–72. 6243:726180494 6221:492124281 6209:Eric Blom 6197:450847226 6163:474839729 5991:(1974) . 5922:7 October 5838:758351563 5719:254095462 5702:254095561 5685:847382507 5492:863441900 5457:Bent, Ian 5449:470511334 5439:(1959) . 5429:458648636 5419:(1956) . 5377:965807889 5369:931718898 5315:The Times 5263:"Berlioz" 4818:874720250 3542:Roy Howat 3468:required) 2819:required) 2544:possible. 1768:Dies irae 1758:, Méhul, 1756:Cherubini 1653:The epic 1533:idée fixe 1500:Idée fixe 1408:col legno 1391:– of the 1388:idée fixe 1235:Grave in 1037:Meyerbeer 807:obbligato 635:King Lear 567:Cléopâtre 494:Beethoven 456:given by 297:, in the 241:flageolet 10657:Category 10473:Dahlhaus 10458:Blanning 10425:Scholars 10395:Tropinin 10390:Tidemand 10380:Stattler 10375:Scheffer 10275:Głowacki 10245:Edelfelt 10200:Bryullov 10142:Snellman 10117:Schiller 10107:Rousseau 10087:Michelet 10032:Constant 10002:Belinsky 9975:Sibelius 9919:Konjović 9893:Scriabin 9863:Lyapunov 9797:Lipiński 9766:Spontini 9756:Paganini 9700:Goldmark 9491:Thalberg 9486:Schubert 9466:Bruckner 9427:Topelius 9417:Runeberg 9407:Prešeren 9377:Leopardi 9342:Frashëri 9332:Eminescu 9312:Andersen 9220:Tyutchev 9205:Karamzin 9179:Zorrilla 9174:Saavedra 9072:Castilho 9060:Portugal 9051:Słowacki 8953:Polidori 8883:Barbauld 8818:Hoffmann 8773:Brentano 8687:Bertrand 8508:Romantic 8344:Ancients 8318:Scotland 8141:Category 8118: ← 7997:Symphony 7860:Thalberg 7825:Spontini 7800:Sibelius 7795:Scriabin 7780:Schubert 7775:Sarasate 7740:Respighi 7735:Reinecke 7695:Paganini 7605:Massenet 7600:Masarnau 7585:Madetoja 7530:Kreisler 7520:Kalivoda 7465:J. Gomis 7450:Glazunov 7445:Giuliani 7335:Chausson 7325:Chadwick 7315:Bruckner 7138:Category 7094:Mémoires 7056:cantatas 7030:, Op. 25 7022:, Op. 24 7014:, Op. 18 6987:, Op. 22 6948:, Op. 17 6940:, Op. 16 6932:, Op. 15 6924:, Op. 14 6903:, Op. 29 6895:, Op. 27 6887:, Op. 23 6630:23554300 6252:Journals 6231:(1904). 6180:10926930 6153:(1955). 6100:(1983). 6078:(1998). 6037:(2001). 6015:(2018). 5916:Archived 5898:(1989). 5848:(1975). 5459:(2005). 5391:Archived 5340:Archived 5292:Archived 5266:Archived 5156:Archived 5136:Archived 5110:Archived 5080:Archived 5053:Archived 4861:Archived 4793:Archived 4748:Archived 4719:Archived 4689:Archived 4629:Archived 4592:Archived 4568:Archived 4394:Archived 4349:Archived 4314:Archived 4303:Archived 4235:Archived 4061:Archived 3732:Archived 3697:Archived 3549:Archived 3530:Archived 3519:Archived 3504:Archived 3452:Archived 3081:Archived 2921:cite web 2803:Archived 2725:attain." 2514:Mémoires 2357:-lee-ohz 2263:and the 2220:include 2070:pliancy. 1991:Mémoires 1898:Mémoires 1842:Mélodies 1828:Mélodies 1703:Dogberry 1646:and the 1634:, is an 1445:and the 1383:dominant 1362:melodies 1285:Grenoble 843:Messager 833:and the 825:(1833), 550:Mémoires 477:Waverley 249:Rameau's 221:Mémoires 213:agnostic 45:Romantic 10670:Portals 10498:Lovejoy 10433:Abraham 10355:Richard 10345:Préault 10270:Girodet 10152:Thoreau 10097:Novalis 10082:Mazzini 10077:Maistre 10052:Hazlitt 10037:Emerson 10017:Carlyle 10007:Berchet 9950:Berwald 9945:Bennett 9914:Hristić 9868:Medtner 9848:Borodin 9838:Arensky 9761:Rossini 9736:Bellini 9715:Joachim 9688:Hungary 9669:Strauss 9597:Germany 9563:Berlioz 9532:Voříšek 9527:Smetana 9505:Czechia 9459:Austria 9392:Maturin 9387:Manzoni 9362:Heliade 9337:Foscolo 9307:Alfieri 9302:Abovian 9256:Emerson 9215:Pushkin 9154:Bécquer 9087:Garrett 9041:Potocki 8988:Southey 8948:Maturin 8918:Carlyle 8875:Britain 8848:Novalis 8803:Gutzkow 8751:Germany 8717:Mérimée 8702:Gautier 8629:Barreto 8624:Azevedo 8604:Alencar 8584:Writers 8503:Byronic 8439:Purismo 8293:Germany 8275:Denmark 8131:→ 8093:Science 7972:Mazurka 7947:Ballade 7880:Voříšek 7850:Tárrega 7845:Taneyev 7805:Smetana 7760:Rossini 7715:Puccini 7710:Prudent 7670:Nielsen 7635:Méreaux 7610:Medtner 7575:Lysenko 7545:Lachner 7510:Joachim 7490:Herbert 7410:Farrenc 7375:Delibes 7350:Crusell 7295:Borodin 7285:Berwald 7275:Berlioz 7265:Bennett 7260:Bellini 7245:Bazzini 7225:Arensky 7105:Related 7064:, Op. 7 7012:Tristia 6985:Te Deum 6979:, Op. 5 6879:, Op. 3 6789:at the 6779:in the 6773:(IMSLP) 6769:at the 6381:3850680 6211:(ed.). 5901:Berlioz 5828:(ed.). 5656:(ed.). 5593:(ed.). 5404:Sources 3078:"Paris" 2623:bland." 2599:Borodin 2457:Alceste 2362:French: 2039:Debussy 2031:, 1955. 1915:Writers 1788:cantata 1776:Te Deum 1764:timpani 1744:timpani 1740:Requiem 1502:theme, 1290:exhumed 1141:Te Deum 1113:strokes 1101:Bohemia 1033:Dresden 1029:Leipzig 880:Requiem 851:Debussy 714:Abruzzi 510:seventh 452:at the 364:Rossini 182:in the 176:commune 61:Requiem 10708:France 10523:Wellek 10503:de Man 10488:Janion 10478:Ferber 10453:Berlin 10448:Beiser 10443:Barzun 10438:Abrams 10415:Wiertz 10400:Turner 10350:Révoil 10335:Palmer 10325:Martin 10320:Leutze 10295:Janmot 10255:Fuseli 10210:Church 10102:Quinet 10092:Müller 10047:Goethe 10042:Fichte 9965:Franck 9907:Serbia 9858:Glinka 9831:Russia 9817:Tausig 9812:Stolpe 9792:Chopin 9780:Poland 9741:Busoni 9705:Heller 9674:Wagner 9609:Brahms 9583:Onslow 9573:Halévy 9541:France 9522:Reicha 9512:Dvořák 9481:Mahler 9476:Hummel 9471:Czerny 9367:Isaacs 9347:Geijer 9281:Lowell 9271:Irving 9251:Cooper 9246:Bryant 9188:Russia 9123:Njegoš 9118:Kostić 9113:Jakšić 9106:Serbia 9036:Norwid 9011:Fredro 9003:Poland 8973:Seward 8863:Uhland 8853:Schwab 8843:Mörike 8833:Kleist 8788:Goethe 8783:Fouqué 8732:Nodier 8727:Nerval 8722:Musset 8674:France 8664:Varela 8659:Taunay 8644:Macedo 8592:Brazil 8542:Ossian 8469:Themes 8308:Poland 8303:Norway 8285:France 8151:Portal 8088:Poetry 7940:Genres 7885:Wagner 7865:Tobias 7730:Reicha 7705:Popper 7685:Pacini 7680:Onslow 7590:Mahler 7570:Lumbye 7535:Kuhlau 7515:Joplin 7505:Hummel 7495:Hérold 7485:Halévy 7470:Gounod 7455:Glinka 7435:Franck 7430:Foster 7400:Dvořák 7390:d'Indy 7380:Delius 7360:Czerny 7345:Chopin 7320:Busoni 7305:Brahms 7280:Bertin 7270:Bériot 7097:(1865) 7089:(1844) 6869:Operas 6749:725865 6747: 6721:726023 6719: 6693:951545 6691: 6662:766138 6660: 6628: 6606:766485 6604: 6571:951546 6569: 6539:732898 6537: 6480:932326 6478: 6448:917417 6446: 6416:730801 6414: 6379: 6349:950016 6347: 6317:763644 6315: 6281:932541 6279: 6241: 6219: 6195: 6178: 6161: 6135: 6108: 6086: 6064: 6045: 6023: 6001: 5977: 5958: 5939: 5908: 5884: 5858: 5836: 5810: 5788: 5758:851644 5756: 5734: 5717: 5700: 5683: 5664: 5641: 5622: 5603: 5575: 5556: 5537: 5507: 5490: 5471: 5447: 5427: 5375: 5367: 4816: 4544:Quoted 4502:quoted 4426:Quoted 3540:, and 3536:; and 3164:quoted 2445:Armide 2181:, and 2165:, the 1760:Gossec 1730:Choral 1670:Aeneid 1665:Virgil 1599:Operas 1441:, the 1272:Havana 1227:, 1863 1192:Aeneid 1131:, 1850 1071:) and 950:Wagner 882:– the 789:Ingres 742:Bocage 732:, the 624:Pleyel 614:, the 498:Goethe 486:Hérold 443:Hamlet 349:scores 303: 234:Aeneas 226:Virgil 36:, 1845 10732:Music 10696:Opera 10609:Bacon 10518:Rosen 10513:Ricks 10508:Nancy 10468:Blume 10463:Bloom 10385:Stroy 10370:Saleh 10365:Runge 10315:Lampi 10300:Jones 10290:Hayez 10225:Corot 10190:Blake 10157:Tieck 10147:Staël 10072:Larra 10057:Hegel 10012:Burke 9970:Grieg 9960:Field 9955:Elgar 9938:Other 9771:Verdi 9729:Italy 9720:Liszt 9710:Hubay 9695:Erkel 9679:Weber 9664:Spohr 9624:Loewe 9614:Bruch 9578:Méhul 9568:Fauré 9558:Auber 9553:Alkan 9412:Raffi 9382:Mácha 9372:Lenau 9322:Botev 9295:Other 9147:Spain 9082:Dinis 8968:Scott 8943:Keats 8923:Clare 8913:Byron 8908:Burns 8888:Blake 8873:Great 8858:Tieck 8813:Heine 8808:Hauff 8742:Vigny 8737:Staël 8697:Dumas 8619:Assis 8614:Alves 8599:Abreu 8552:Rhine 8455:Ultra 8298:Japan 8078:Chess 7910:Ysaÿe 7890:Weber 7870:Verdi 7820:Spohr 7815:Sousa 7700:Paine 7615:Méhul 7565:Loewe 7560:Liszt 7540:Kuula 7500:Holst 7480:Grieg 7460:Gomes 7440:Franz 7425:Foote 7420:Field 7415:Fauré 7405:Elgar 7385:Denza 7310:Bruch 7290:Bizet 7250:Beach 7235:Auber 7220:Alkan 7148:Audio 7078:Books 7004:Lélio 6745:JSTOR 6717:JSTOR 6689:JSTOR 6658:JSTOR 6626:JSTOR 6602:JSTOR 6567:JSTOR 6535:JSTOR 6476:JSTOR 6444:JSTOR 6412:JSTOR 6377:JSTOR 6345:JSTOR 6313:JSTOR 6277:JSTOR 5409:Books 3074:et al 2304:Notes 2059:Grove 2043:Grove 2010:Grove 1865:Prose 1708:Roméo 1485:Ninth 1451:Lélio 1397:tonic 1371:triad 1296:Works 1081:Rouen 863:Weber 847:Dukas 839:Fauré 799:viola 646:Lélio 515:Faust 506:fifth 502:third 482:Auber 320:Gluck 312:Opéra 295:Opéra 188:Isère 10483:Frye 10410:Ward 10405:Veit 10360:Rude 10310:Koch 10285:Gude 10280:Goya 10230:Dahl 10220:Cole 9548:Adam 9496:Wolf 9239:U.S. 9138:Zmaj 8768:Beer 8707:Hugo 8654:Reis 8634:Dias 8498:Hero 8433:Post 8394:Jena 8364:Dark 7967:Lied 7905:Wolf 7755:Rode 7745:Ries 7725:Raff 7550:Lalo 7215:Adam 6239:OCLC 6217:OCLC 6193:OCLC 6176:OCLC 6159:OCLC 6133:ISBN 6106:ISBN 6084:ISBN 6062:ISBN 6043:ISBN 6021:ISBN 5999:ISBN 5975:ISBN 5956:ISBN 5937:ISBN 5924:2020 5906:ISBN 5882:ISBN 5856:ISBN 5834:OCLC 5808:ISBN 5786:ISBN 5754:OCLC 5732:ISBN 5715:OCLC 5698:OCLC 5681:OCLC 5662:ISBN 5639:ISBN 5620:ISBN 5601:ISBN 5573:ISBN 5554:ISBN 5535:ISBN 5505:ISBN 5488:OCLC 5469:ISBN 5445:OCLC 5425:OCLC 5373:OCLC 5371:and 5365:OCLC 4814:OCLC 4309:and 2931:link 2927:link 2913:2023 2692:and 2609:and 2466:and 2355:BAIR 2291:and 2279:and 2248:and 2240:and 2196:and 2169:and 2086:and 1675:Troy 1564:and 1035:and 981:The 849:and 768:and 748:and 702:and 690:and 629:Nice 528:Opus 508:and 496:and 484:and 475:and 446:and 370:and 335:and 305:1821 293:The 232:and 230:Dido 81:and 63:and 53:and 9980:Sor 9853:Cui 9286:Poe 8419:Pre 8414:Neo 7810:Sor 7355:Cui 6737:doi 6709:doi 6681:doi 6650:doi 6646:109 6594:doi 6590:123 6559:doi 6555:110 6527:doi 6500:doi 6468:doi 6436:doi 6404:doi 6369:doi 6337:doi 6333:104 6305:doi 6269:doi 6125:doi 5778:doi 5527:doi 2603:Cui 2429:by 2333:ɛər 2318:IPA 1954:'s 1840:33 1710:or 1667:'s 1373:in 1323:or 1274:of 1166:at 901:". 716:". 518:in 440:'s 322:'s 186:of 178:of 168:née 10744:: 10635:← 6743:. 6715:. 6687:. 6656:. 6644:. 6622:43 6620:. 6600:. 6588:. 6565:. 6553:. 6533:. 6523:50 6521:. 6496:25 6494:. 6474:. 6464:47 6462:. 6442:. 6432:70 6430:. 6410:. 6400:33 6398:. 6375:. 6365:26 6363:. 6343:. 6331:. 6311:. 6301:10 6299:. 6275:. 6265:53 6263:. 6149:; 6131:. 5914:. 5784:. 5533:. 5298:, 5287:. 5277:^ 5228:^ 5174:^ 5162:, 5116:, 5098:^ 5086:, 5059:, 5048:. 5011:^ 4975:^ 4841:, 4799:, 4781:^ 4754:, 4707:^ 4695:, 4635:, 4527:^ 4418:^ 4400:, 4355:, 4334:^ 4241:, 4230:. 4218:^ 4206:^ 4052:, 4039:^ 4027:^ 3950:^ 3866:^ 3773:^ 3743:^ 3703:, 3667:^ 3637:^ 3625:, 3612:^ 3555:, 3544:. 3514:. 3499:. 3458:, 3436:^ 3415:^ 3394:^ 3364:^ 3348:^ 3336:^ 3268:^ 3171:^ 3117:^ 3087:, 3076:. 3002:^ 2923:}} 2919:{{ 2895:, 2834:^ 2809:, 2791:^ 2688:, 2684:, 2680:, 2676:, 2605:, 2601:, 2460:, 2454:, 2448:, 2433:. 2377:; 2360:; 2342:oʊ 2320:: 2295:. 2287:, 2275:, 2271:, 2252:. 2236:, 2232:, 2228:, 2224:, 2185:. 2177:, 2139:, 2135:, 2131:, 2080:LP 2065:: 2045:, 1985:, 1981:, 1794:, 1424:. 1310:, 1260:. 1108:. 1083:. 958:. 845:, 841:, 817:. 809:, 764:, 760:, 756:, 684:, 652:. 552:: 536:. 504:, 488:. 432:, 266:. 199:c. 99:. 75:, 10672:: 10648:→ 8253:e 8246:t 8239:v 8185:e 8178:t 8171:v 8053:" 8049:" 7182:e 7175:t 7168:v 6836:e 6829:t 6822:v 6751:. 6739:: 6723:. 6711:: 6695:. 6683:: 6664:. 6652:: 6632:. 6608:. 6596:: 6573:. 6561:: 6541:. 6529:: 6506:. 6502:: 6482:. 6470:: 6450:. 6438:: 6418:. 6406:: 6383:. 6371:: 6351:. 6339:: 6319:. 6307:: 6283:. 6271:: 6245:. 6223:. 6199:. 6182:. 6165:. 6141:. 6127:: 6114:. 6092:. 6070:. 6051:. 6029:. 6007:. 5983:. 5964:. 5945:. 5926:. 5890:. 5864:. 5840:. 5816:. 5794:. 5780:: 5760:. 5740:. 5721:. 5704:. 5687:. 5670:. 5647:. 5628:. 5609:. 5581:. 5562:. 5543:. 5529:: 5513:. 5494:. 5477:. 5451:. 5431:. 2933:) 2915:. 2696:. 2472:. 2386:. 2348:/ 2345:z 2339:i 2336:l 2330:b 2327:ˈ 2324:/ 1473:. 23:.

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index