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- Berlioz provided his own programme notes for each movement of the work. He writes: ‘The composer’s intention has been to develop various episodes in the life of an artist, in so far as they lend themselves to musical treatment. As the work cannot rely on the assistance of speech, the plan of the instrumental drama needs to be set out in advance.
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Berlioz provided his own preface and programme notes for each movement of the work. They exist in two principal versions: one from 1845 in the first edition of the work and the second from 1855. [3] These changes show how Berlioz downplayed the programmatic aspect of the piece later in life.
Berlioz provided his own programme notes for each movement of the work. He writes: ‘The composer’s intention has been to develop various episodes in the life of an artist, in so far as they lend themselves to musical treatment. As the work cannot rely on the assistance of speech, the plan of the instrumental drama needs to be set out in advance.
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- Rêveries – Passions. Berlioz’s Programme Notes: “The author imagines that a young musician, afflicted by the sickness of spirit which a famous writer has called the vagueness of passions (le vague des passions), sees for the first time a woman who unites all the charms of the ideal person his imagination was dreaming of, and falls desperately in love with her.
- Un bal. “The artist finds himself in the most diverse situations in life, in the tumult of a festive party, in the peaceful contemplation of the beautiful sights of nature, yet everywhere, whether in town or in the countryside, the beloved image keeps haunting him and throws his spirit into confusion.”
- Scène aux champs. “One evening in the countryside he hears two shepherds in the distance dialoguing with their ranz des vaches; this pastoral duet, the setting, the gentle rustling of the trees in the wind, some causes for hope that he has recently conceived, all conspire to restore to his heart an unaccustomed feeling of calm and to give to his thoughts a happier colouring.
- Marche au supplice. “Convinced that his love is spurned, the artist poisons himself with opium. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the strangest of visions.
Having first completed the orchestration of his 1841 song cycle Les Nuits d'été, [100] he began work on Les Troyens – The Trojans – writing his own libretto based on Virgil's epic. He worked on it, in between his conducting commitments, for two years.
- Julian Rushton
- 1983
According to the composer's own detailed program, his symphony aimed to describe the tortured dreams of a sensitive artist in lovesick despair who takes an overdose of opium and becomes haunted by visions of an unattainable woman. In the course of five movements, he first tempers his depression, volcanic love and jealous rages through religious ...
In 1827, the 23-year-old Hector Berlioz attended a performance of Shakespeare’s Hamlet at the Odéon Theatre in Paris; Harriet Smithson, a charismatic Irish actress, was playing Ophelia. Berlioz was smitten and wrote her an impassioned letter – Smithson did not reply.
Berlioz provided his own program notes for each movement of the work (see below). He prefaces his notes with the following instructions: The composer’s intention has been to develop various episodes in the life of an artist, in so far as they lend themselves to musical treatment.
