Musicians - Hector Berlioz

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	Musicians - Hector Berlioz

Louis Hector Berlioz (December 11, 1803 – March 8, 1869) was a French Romantic composer best known for the Symphonie fantastique, first performed in 1830, and for his Grande Messe des morts Requiem of 1837, with its tremendous resources that include four antiphonal brass choirs.

Biography

Berlioz was born in France at La Côte-Saint-André, between Lyon and Grenoble. His father was a physician and young Hector was sent to Paris to study medicine at the age of eighteen. Berlioz was horrified by the process of dissection and, despite his father's disapproval, he abandoned his career path in medicine to study music a year later. He then attended the Paris Conservatoire studying opera and composition.

He became identified early on with the French romantic movement. Among his friends were writers such as Alexandre Dumas, Victor Hugo, and Honoré de Balzac. Later, Théophile Gautier wrote, "Hector Berlioz seems to me to form with Hugo and Delacroix, the Trinity of Romantic Art."

Berlioz is said to have been innately romantic, experiencing emotions deeply from early childhood. This manifested itself in his weeping at passages of Virgil as a child, and later in a series of love affairs. At the age of 23, his unrequited (at first) love for the Irish Shakespearean actress Henrietta Constance Smithson was the inspiration for his Symphonie fantastique. In 1830, the same year as the symphony's premiere, Berlioz won the Prix de Rome.

After Smithson's initial rejection of Berlioz, an engagement with Marie Moke was broken off when her mother forced her to marry the pianist and piano manufacturer Camille Pleyel. Berlioz, residing in Rome at the time under a Prix de Rome scholarship, planned to ride back to Paris dressed as a chambermaid, kill Marie, her mother and her fiancé, and commit suicide. He got as far as Nice before giving up the idea.

Berlioz's letters were considered so overly passionate by Smithson that she initially refused his advances. The symphony which these emotions are said to inspire was received as startling and vivid. The autobiographic nature of this piece of program music was also considered sensational at the time. After his return to Paris from his two years study in Rome, he finally married Smithson when she had finally attended a performance of the Symphonie Fantastique. She quickly realized that it was his depiction of his passionate letters to her. However, after only a few years, the relationship quickly fell apart. (Kamien 242)

During his lifetime, Berlioz was more famous as a conductor than a composer. He regularly toured Germany and England where he conducted operas and symphonic music, both his own and music composed by others. He met virtuoso and composer Niccolò Paganini a few times and, according to Berlioz's memoirs, Paganini offered him 20,000 francs after he saw Harold in Italy performed live as the money was intended as a reward for writing a viola piece for the violin virtuoso to perform as his own.

Hector Berlioz is buried in the Cimetiere de Montmartre with his two wives, Harriet Smithson (died 1854) and Marie Recio (died 1862).

Legacy

The music of Berlioz enjoyed a revival during the 1960s and 1970s, due in large part to the efforts of British conductor Colin Davis, who recorded his entire oeuvre, bringing a number of Berlioz's lesser-known works to the light. Davis's recording of Les Troyens was the first complete recording of that work. The work, which Berlioz never saw staged in its entirety during his life, is now revived regularly.

In 2003, the bicentenary of Berlioz's birth, a proposal was made to remove his remains to the Panthéon, but it was blocked by President Jacques Chirac in a political dispute over Berlioz's worthiness as a symbol of the glory of France in comparison to such figures as Andre Malraux, Jean Jaures, and Alexandre Dumas. In his land of birth, Berlioz still remains something of the neglected prophet.

A movement of Carnival of the Animals composed in 1886 by Camille Saint-Saëns, L'Éléphant, uses a theme from Hector Berlioz's Dances des sylphes played on a double bass.

Musical influence

Berlioz had a keen affection for literature, and many of his best compositions are inspired by literary works. For Symphonie Fantastique Berlioz was inspired by Thomas de Quincey's Confessions of an English Opium-Eater. For La damnation de Faust, Berlioz drew on Goethe's Faust; for Harold in Italy, he drew on Byron's Childe Harold; for Benvenuto Cellini, he drew on Cellini's own autobiography. For Roméo et Juliette, Berlioz turned to Shakespeare's tragedy of the similar name. For his magnum opus, the monumental opera Les Troyens, Berlioz turned to Virgil's epic poem The Aeneid. For his last opera, the comic opera Béatrice et Bénédict, Berlioz prepared a libretto based loosely on Shakespeare's Much Ado About Nothing.

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