Let the silver thread of fantasy wind around the chain of rules.
R. Schumann

G. Berlioz is one of the greatest composers and the greatest innovators of the 19th century. He went down in history as the creator of program symphonism, which had a deep and fruitful influence on all subsequent development of romantic art. For France, the name of Berlioz is associated with the birth of a national symphonic culture. Berlioz is a musician of a wide profile: composer, conductor, music critic, who defended advanced, democratic ideals in art, generated by the spiritual atmosphere of the July Revolution of 1830. The childhood of the future composer took place in a favorable atmosphere. His father, a doctor by profession, instilled in his son a taste for literature, art, and philosophy. Berlioz's worldview took shape under the influence of his father's atheistic beliefs and his progressive, democratic views. But for the boy’s musical development, the conditions of the provincial town were very modest. He learned to play the flute and guitar, and his only musical experience was church singing - Sunday solemn masses, which he loved very much. Berlioz's passion for music manifested itself in his attempt to compose. These were short plays and romances. The melody of one of the romances was subsequently included as a leittheme in the “Fantastic” symphony.

In 1821, Berlioz went to Paris at the insistence of his father to enter Medical School. But medicine does not attract the young man. Passionate about music, he dreams of professional music education. In the end, Berlioz makes an independent decision to abandon science for the sake of art, and this incurs the wrath of his parents, who did not consider music a worthy profession. They deprive their son of all material support, and from now on the future composer can only rely on himself. However, believing in his destiny, he devotes all his strength, energy and passion to independently mastering his profession. He lives, like Balzac's heroes, from hand to mouth, in attics, but he doesn't miss a single performance at the opera and that's it. free time spends time in the library, studying scores.

Since 1823, Berlioz began to take private lessons from J. Lesueur, the most prominent composer of the Great era. french revolution. It was he who instilled in his student a taste for monumental forms of art designed for a mass audience. In 1825, Berlioz, showing extraordinary organizational talent, organized a public performance of his first major work - the Great Mass. The following year he composed the heroic scene “Greek Revolution”; this work opened a whole direction in his work related to revolutionary themes. Feeling the need to get deeper professional knowledge, in 1826 Berlioz entered the Paris Conservatory in Lesueur's composition class and A. Reich's counterpoint class. Great importance for the formation of aesthetics young artist has contacts with outstanding representatives of literature and art, among whom are O. Balzac, V. Hugo, G. Heine, T. Gautier, A. Dumas, Georges Sand, F. Chopin, F. Liszt, N. Paganini. He is connected with Liszt by personal friendship, community creative searches and interests. Subsequently, Liszt would become an ardent promoter of Berlioz's music.

In 1830, Berlioz created the “Fantastic Symphony” with the subtitle: “An Episode from the Life of an Artist.” It opens a new era of programmatic romantic symphony, becoming a masterpiece of world musical culture. The program was written by Berlioz and is based on the biography of the composer himself - the romantic story of his love for the English dramatic actress Henrietta Smithson. However, autobiographical motifs in musical generalization acquire the significance of the general romantic theme of the artist’s loneliness in the modern world and, more broadly, the theme of “lost illusions.”

1830 was a turbulent year for Berlioz. Participating in the competition for the Rome Prize for the fourth time, he finally won, presenting the cantata “The Last Night of Sardanapalus” to the jury. The composer finishes his work to the sounds of the uprising that began in Paris and goes straight from the competition to the barricades to join the rebels. In the following days, having orchestrated and arranged “La Marseillaise” for a double choir, he practiced it with people in the squares and streets of Paris.

Berlioz spent 2 years as a Roman scholar at the Villa Medici. Returning from Italy, he began active work as a conductor, composer, and music critic, but encountered complete rejection of his innovative activities from official circles in France. And this predetermined his entire later life, full of hardships and material difficulties. Berlioz's main source of income became musical critical work. Articles, reviews, musical short stories, feuilletons were subsequently published in several collections: “Music and Musicians”, “Musical Grotesques”, “Evenings in the Orchestra”. The central place in Berlioz's literary heritage was occupied by Memoirs - the composer's autobiography, written in a brilliant literary style and giving a wide panorama of artistic and musical life Paris of those years. Berlioz’s theoretical work “Treatise on Instrumentation” (with its appendix “The Orchestra Conductor”) became a huge contribution to musicology.

In 1834, the second program symphony “Harold in Italy” (based on the poem by J. Byron) appeared. The developed solo viola part gives this symphony the characteristics of a concert. 1837 was marked by the birth of one of greatest creations Berlioz - Requiem, created in memory of the victims of the July Revolution. In the history of this genre, Berlioz's Requiem is a unique work, which combines a monumental fresco and sophisticated psychological style; Marches and songs in the spirit of the music of the French Revolution are side by side with either soulful romantic lyrics or the strict, ascetic style of medieval Gregorian chant. The Requiem was written for a huge cast of participants: 200 choristers and an expanded orchestra with four additional sections of wind instruments. In 1839, Berlioz completed work on the third program symphony “Romeo and Juliet” (based on the tragedy of W. Shakespeare). This masterpiece symphonic music, Berlioz’s most original creation, is a synthesis of symphony, opera, and oratorio and allows not only concert but also stage performance.

In 1840, the “Funeral-Triumphal Symphony” appeared, intended for performance in the open air. It is timed to coincide with the solemn ceremony of transferring the ashes of the heroes of the 1830 uprising and vividly revives the traditions of theatrical performances of the Great French Revolution.

“Romeo and Juliet” is adjacent to the dramatic legend “The Damnation of Faust” (1846), also based on a synthesis of the principles of program symphony and theatrical stage music. Berlioz's Faust - the first musical reading philosophical drama I. V. Goethe, which laid the foundation for numerous subsequent interpretations of it: in opera (C. Gounod), in symphony (Liszt, G. Mahler), in symphonic poem (R. Wagner), in vocal and instrumental music (R. Schumann) . Berlioz also wrote the oratorio trilogy "The Childhood of Christ" (1854), several program overtures ("King Lear" - 1831, "Roman Carnival" - 1844, etc.), 3 operas ("Benvenuto Cellini" - 1838, the duology "The Trojans" - 1856-63, “Beatrice and Benedict” - 1862) and a number of vocal and instrumental compositions in different genres.

Berlioz lived a tragic life, never achieving recognition in his homeland. The last years of his life were gloomy and lonely. The composer's only bright memories were associated with trips to Russia, which he visited twice (1847, 1867-68). Only there did he achieve brilliant success with the public and real recognition among composers and critics. The dying Berlioz's last letter was addressed to his friend, the famous Russian critic V. Stasov.

Date of birth: December 11, 1803
Date of Death: March 8, 1869
Place of birth: near Grenoble, France

Hector Berlioz- composer. Hector Berlioz(Louis-Hector Berlioz), was one of the French composers. He was also involved in conducting and criticism.

Hector was born in a small provincial French town in December 1803. His father, Louis Joseph, had a medical practice in the town. According to the customs of that time, the mother took care of the house and was a devout Catholic. The family had six children, but three of them died in infancy. The boy grew up in an atmosphere folk songs and melodies, which, of course, left an imprint on his future profession.

Hector started studying music quite late, at the age of 12, and did not demonstrate any special abilities. None of his relatives believed in Hector’s musical future. He independently mastered playing the flute and guitar. He studied the theoretical foundations of music on his own and then, at a young age, began composing his first works. These were small forms, such as romances.

His parents insisted that Hector follow in his father’s footsteps and continue the dynasty of doctors. The young man even entered medical university after graduation. But after visiting an anatomical specialist, he decided that music, not medicine, was his calling. In 1824, medicine was finally abandoned and a new, musical, chapter of life began. young man.

A visit to the Paris Opera, acquaintance with the works of Gluck and Beethoven, and a meeting with L. Cherubini, the potential director of the conservatory, gradually shaped Berlioz’s talent.

In 1826, Hector himself became a student at the conservatory and continued his self-education, attending the opera and studying the scores of famous musicians. Throughout his life he continued to study the works of other famous musicians. He continued to compose small musical forms. At the same time, he began to write critical articles, which allowed him to make acquaintance with iconic writers and musicians of that time - J. Sand, V. Hugo, N. Paganini.

After graduating from the conservatory, Berlioz received a long-awaited prize for his work Sardanapalus. The fact is that he had long dreamed of the Rome Prize, but could not get it. Perhaps this was due to the fact that the composer sympathized with the revolutionary movement. As a result, having received the prize, he visited Italy. Of course, works Italian composers, as well as the acquaintance with the works of Glinka and Byron, impressed Berlioz. This led to the composer returning to Paris with the overture already written and sketches for a symphonic overture.

In Paris, the young composer's romantic relationship with G. Smitsson begins. Their wedding took place in 1833. The marriage did not last long, only 7 years, and ended in divorce.

Hector’s creative energy was in full swing. The most fruitful period of his work began. He began to create large forms - operas, symphonies and concerts. He acted as conductor of the Paris Conservatoire.

In 1833, the eminent Paganini offered cooperation to Berlioz. Thus the symphony “Harold in Italy” was born.

Composing music did not bring significant income to Hector Berlioz. To earn money, he wrote critical articles for major magazines and newspapers. The composer often toured as a conductor. He performed successfully in Russia. He managed to gather the entire elite of the spoiled St. Petersburg public to his concert.

Despite sufficient popularity and fame, G. Berlioz died without becoming rich. He died in March 1869.

Achievements of Hector Berlioz:

He wrote 4 symphonies and 9 overtures and 6 operas.
Left behind five large literary works.
He introduced many innovative innovations in conducting methods.

Dates from the biography of Hector Berlioz:

1803, December 11 was born.
1815 began to compose his first works.
1826 entered the Paris Conservatory
In 1830, under the impression of revolutionary ideas, he made an adaptation of the Marseillaise.
1839 returned from Italy to Paris
1842 began traveling to European cities with concert activities. Visited Russia.
1862 second trip to Russia.
Died March 8, 1869

Interesting facts about Hector Berlioz:

As a child and teenager, my father forbade learning to play the piano. The boy independently mastered playing wind and string instruments
He worked as the chief librarian of the Paris Conservatory. Writing critical articles brought more money than an essay musical works.
Russia was one of the first countries to appreciate musical abilities Berlioz.
Met and had personal acquaintance with many eminent compatriots in different countries– with J. Sand, N. Paganini, Balakirev and Mussorgsky.
I have never used my articles in the press to advertise my own musical compositions.

French composer, conductor, musical writer of the Romantic period

Hector Berlioz

short biography

Hector Berlioz([ɛk"tɔʁ bɛʁ"ljoːz]), or Louis-Hector Berlioz(French Louis-Hector Berlioz, December 11, 1803, La Côte-Saint-André - March 8, 1869, Paris) - French composer, conductor, music writer of the Romantic period. Member of the Institute of France (1856).

Childhood

Hector Berlioz was born in the provincial town of La Côte-Saint-André (Isère department near Grenoble) in southeastern France. His father, Louis-Joseph Berlioz, was a respected provincial doctor. Louis-Joseph Berlioz was an atheist; Hector's mother, Marie Antoinette, was a Catholic. Hector Berlioz was the first of six children in the family, three of whom did not live to adulthood. Berlioz left two sisters - Nancy and Adele, with whom he was in good relations. Young Hector was mainly educated by his father.

Berlioz spent his childhood in the provinces, where he heard folk songs and became acquainted with ancient myths. Unlike some other famous composers of the time, Berlioz was not a child prodigy. He began playing music at the age of 12, at which time he began writing small compositions and arrangements. Due to his father's prohibition, Berlioz never learned to play the piano. He learned to play the guitar, harmonic and flute well. He studied harmony only from textbooks without a teacher. Most of it early works were romances and chamber works.

student life

In March 1821, he graduated from high school in Grenoble, and in October, at the age of 18, Berlioz went to Paris, where he began to study medicine. His parents wanted him to become a doctor, but Berlioz himself gravitated towards music. He showed no interest in medicine, and after attending an autopsy, he began to feel disgusted with it.

Hector Berlioz made his first visit to Paris Opera, attended the opera “Iphigenia in Tauris” by Christoph Gluck, a composer whom he admired along with Ludwig van Beethoven. At the same time, Berlioz began visiting the library of the Paris Conservatoire, where he looked for the scores of Gluck's operas in order to make copies of them. In his memoirs, he wrote that there he first met Luigi Cherubini, the future director of the conservatory. Cherubini did not want to let Berlioz into the library at that time, since he was not a student at the conservatory. Berlioz also attended two operas by Gaspare Spontini, whose work influenced him. Soon he decided to become a composer. He was assisted in these endeavors by Jean-François Lesueur, a professor at the conservatory. In 1823, Berlioz wrote his first article - a letter to the magazine Le corsaire in defense of Spontini's opera The Vestal. During this period, Berlioz composed several works.

Despite his parents' disapproval, he officially gave up studying medicine in 1824 to pursue a career as a composer. In 1825, the first public performance of his work “Solemn Mass” took place in Paris, without any success. Then he began to write the opera “The Secret Judges,” from which only fragments have survived to this day.

Berlioz, engaged in self-education, took lessons from Jean-François Lesueur for several years and went to his polyphony class after entering the Paris Conservatory in 1826 (he also studied in the class of Antonin Reicha). He started working as a singer in a choir. At the end of 1827, he visited the Odeon Theater and saw the Irish actress Harriet Smithson perform the roles of Ophelia and Juliet in Shakespeare's plays Hamlet and Romeo and Juliet. He was fascinated by the actress. Berlioz wrote Harriet many love letters, which confused and frightened her, and therefore remained unanswered.

Beginning in 1828, Berlioz began writing critical articles about music and met popular writers and musicians of the time, such as Victor Hugo, Alexandre Dumas, Niccolo Paganini, George Sand. In 1828-1830, several works by Berlioz were again performed - the overtures “Waverley”, “Francs-juges” and “Symphony Fantastique”, after the performance of which the public drew attention to the young composer.

In 1830, Berlioz graduated from the Conservatory. That same year he received the Prix de Rome for his academic, non-innovative cantata Sardanapalus. Before this, Berlioz tried to receive the prize for 3 years in a row, but 3 times the jury members refused him, being puzzled. In the same year the revolution began; Berlioz sympathized with the revolutionaries and even instrumentalized the Marseillaise. After receiving the prize, he traveled to Italy under the terms of a scholarship. There he became interested in Italian music, met Mikhail Glinka, and became acquainted with the works of Byron. In 1833, Berlioz returned to France, taking with him the overture “King Lear” written in Italy and the symphonic work “Le retour à la vie” in the genre he called “melologue” (a mixture of instrumental and vocal music with recitation), which forms the continuation "Fantastic Symphony" Returning from Italy, he began active work as a conductor, composer, and music critic, but encountered complete rejection of his innovative activities from official circles in France.

In Paris, Hector Berlioz began a romantic relationship with Harriet Smithson, and they were married on October 2, 1833. The following year their first child was born - Louis-Thomas Berlioz (1834-1867). But soon conflicts began in the family between Hector and Harriet, and in 1840 they divorced.

On December 16, 1838, after a concert at which Berlioz conducted the Symphonie Fantastique and Harold, Paganini himself, a world celebrity, throws himself on his knees in front of him and kisses his hands in tears of delight. The next day, Berlioz receives a letter from Paganini, where he names him Beethoven's successor, and a check for twenty thousand francs.

Berlioz - critic

Having settled in Paris, Berlioz developed creative activity, worked as a composer, composing program symphonies and operas; conductor (worked, in particular, at the Paris Conservatoire) and music critic (wrote in the Gazette musicale de Paris newspapers, later in the Journal des Débats until 1864 and acquired a reputation as a strict and serious critic). Thus, over the years of his journalistic activity, he wrote many articles and feuilletons, which were published almost daily for more than forty years - from 1823 to 1864 in Parisian newspapers: “Le Corsaire” (from 1823), “Le Correspondant” (from 1829 ), "La Gazette musical de Paris" (since 1834), as well as in "Le Journal des Débats".

Berlioz did not deny music the right to influence the listener through imitation of the sounds of nature, but considered this type of influence elementary, inferior among other possibilities of musical art. Talking about highest form imitation, that is, imitation of feelings and passions, G. Berlioz used not only the term “expressiveness”, but also introduced a new concept - “musical image”.

Although working as a music critic provided a good income, he hated it because it left him with little free time to write music. Despite the fact that Berlioz was an authoritative music critic, he never advertised his own works in his publications.

The most outstanding of Berlioz's literary works are: “Voyage musical en Allemagne et en Italie” (Paris, 1854), “Les Soirées de l'orchestre” (Paris, 1853; 2nd edition 1854), “Les grotesques de la musique” (Paris , 1859), “A travers chant” (Paris, 1862), “Traité d'instrumentation” (Paris, 1844).

In 1833, Niccolò Paganini asked Berlioz to write a concerto for viola and orchestra, in which Paganini himself intended to appear as a soloist. This is how the symphony “Harold in Italy” with solo viola appeared.

In 1839 he was appointed deputy librarian of the Paris Conservatoire. To support himself and his family, Berlioz worked as a music critic, writing articles for five years for the Journal des débats, as well as for the Gazette musicale and Le rénovateur.

Berlioz and Russia

Since 1842, Berlioz toured extensively abroad. He performed triumphantly as a conductor and composer in Russia (1847, 1867-1868), in particular, attracting an impressive audience at a concert in the Moscow Manege. In 1847, while in Russia, he dedicated the previously composed Symphony Fantastique to Emperor Nicholas I. His performances as a conductor in St. Petersburg and Moscow were accompanied by standing ovations, and the financial results of the trip exceeded expectations. « And you are my savior, Russia!” - he wrote afterwards. In St. Petersburg in 1867-1868, the composer lived at the following addresses: Mikhailovsky Palace - Inzhenernaya Street, 4. Glinka called him “the first composer of our century.”

In 1850, Berlioz became chief librarian of the Paris Conservatoire. In 1856, Berlioz was appointed a member of the Academy of Arts.

In the 1860s, Berlioz published collections of articles, as well as his Memoirs (1870).

Berlioz's personal life was overshadowed by a number of sad events, which he talks about in detail in his Memoirs. His first marriage, to the Irish actress Harriet Smithson, ended in divorce in 1843 (Smithson had suffered from an incurable nervous illness for many years); After her death, Berlioz married the singer Maria Recio, who died suddenly in 1854. The composer's son from his first marriage died in 1867 in Havana. The composer himself died alone on March 8, 1869.

Creation

Berlioz - bright representative romanticism in music, creator of the romantic program symphony. He boldly introduced innovations in the field musical form, harmony and especially instrumentation, gravitated toward the theatricalization of symphonic music and the grandiose scale of the works.

In 1826, the cantata “The Greek Revolution” was written - a response to the liberation struggle of the Greeks against the Ottoman Empire. During the Great July Revolution of 1830, on the streets of Paris, he practiced revolutionary songs with the people, in particular, “La Marseillaise,” which he arranged for choir and orchestra. The “Mourning and Triumphal Symphony” (1840, written for the solemn ceremony of transferring the ashes of the victims of the July events) reflected revolutionary themes.

For the funeral of General Damremont, who died in 1837 in Algeria, Berlioz wrote a majestic requiem.

Berlioz's style was already defined in the Symphony Fantastique (written in 1830, subtitled "An Episode from the Life of an Artist"). This is the first romantic program symphony. It reflected the typical moods of that time (discord with reality, exaggerated emotionality and sensitivity). The artist’s subjective experiences rise in the symphony to social generalizations: the theme of “unhappy love” takes on the meaning of a tragedy of lost illusions.

Following the symphony, Berlioz wrote the monodrama Lelio, or Return to Life (1831, continuation of the Symphony Fantastique). Berlioz was attracted to the plots of the works of J. Byron - the symphony for viola and orchestra “Harold in Italy” (1834), the overture “The Corsair” (1844); W. Shakespeare - overture “King Lear” (1831), dramatic symphony “Romeo and Juliet” (1839), comic opera “Beatrice and Benedict” (1862, based on the plot “Much Ado About Nothing”); Goethe - dramatic legend (oratorio) “The Damnation of Faust” (1846, which freely interprets Goethe’s poem). Berlioz also owns the opera “Benvenuto Cellini” (post. 1838); 6 cantatas; orchestral overtures, in particular "Carnival of Rome" (1844); romances, etc. Collected works in 9 series (20 volumes) published in Leipzig (1900-1907). In the last years of his life, Berlioz increasingly leaned towards academicism and moral issues: the oratorio trilogy “The Childhood of Christ” (1854), the operatic duology “The Trojans” based on Virgil (“The Taking of Troy” and “The Trojans in Carthage”, 1855-1859).

Berlioz himself wrote the libretto for the last two operas, for The Damnation of Faust, for The Childhood of Christ and other works.

The reason for the contradictory reviews about Berlioz as a composer is that from the very beginning of his musical career he followed a completely new, completely independent path. He was closely associated with the new musical direction that was developing in Germany at that time, and when he visited Germany in 1844, he was much more appreciated there than in his homeland. In Russia, B. has long received his assessment. After his death, and especially after the Franco-Prussian War of 1870, when a national, patriotic feeling awoke with particular force in France, Berlioz’s works gained great popularity among his compatriots.

Berlioz's importance in the field of art lies in his deep understanding of instruments and his masterful use of them in orchestration. His scores are full of new and bold orchestral effects (for example, Berlioz was one of the first to use the technique of playing strings in the Symphony Fantastique col legno). His treatise on instrumentation, translated into many languages, is widely used. After Berlioz's death, his “Memoirs” (Paris, 1870) and “Correspondance inedite 1810-1868” (1878) were published.

Berlioz gained fame not only as a composer, but also as a conductor. Together with Wagner, he laid the foundations of a new school of conducting and made an important contribution to the development of musical critical thought

Treatise on modern instrumentation and orchestration.

A huge contribution to musicology was Berlioz’s theoretical work “Treatise on Instrumentation and Orchestration” (1843) (with the appendix “The Conductor of the Orchestra”), known as edited by Richard Strauss, a fundamental theoretical work. Due to the fact that it is based on his previous essays on this topic, a significant part of the book represents a free expression of thoughts and artistic views; it often takes the form of a casual conversation with the reader, and sometimes turns into a passionate polemic with an imaginary opponent. Berlioz affirms the principle of distributing various functions among the main groups of the orchestra - strings, wood and brass - in order to prevent the leveling of timbres that inevitably occurs when one group is constantly duplicating another. He is rightly considered a reformer of orchestration. R. Strauss wrote to the preface of his “Treatise...”: “ The enduring significance of Berlioz’s book lies in the fact that Berlioz, who was the first to systematize and develop difficult material with the greatest zeal as a collector, not only presented it from the factual side, but everywhere persistently brought to the fore the aesthetic issues of orchestral technique.” He used rarely used instruments - colorful, with brightly individual timbres, unusual combinations of timbres, unique-sounding registers, new touches, playing techniques that created previously unheard-of effects. In Berlioz's works there is no constant, stable composition of the orchestra - everything depends on the circle of images. In some cases, he attracts a gigantic, massive orchestra (Requiem, Funeral and Triumphal Symphony), in other cases he limits the orchestra to an almost chamber composition (the ballet of sylphs from The Damnation of Faust). In the treatise “Opera and Drama,” where many caustic remarks were made towards Berlioz): Wagner writes: “Berlioz brought the development of this mechanism (orchestra) to an absolutely amazing height and depth, and if we recognize the inventors of modern industrial mechanics as benefactors of the state, then Berlioz should be glorified as the true savior of our musical world...”

Major works

Symphonies

• Fantastic Symphony Op.14, H 48 ( Symphony fantastique, 1830)
• Harold in Italy Op.16, H 68 ( Harold in Italy) - for viola and orchestra (1834)
• Romeo and Juliet- symphony based on Shakespeare for choir, soloists and orchestra Op.17, H 79 (1839).
• Funeral-triumphal symphony Op.15, H 80a, b (1840)

Overtures

• Secret judges H 23d (1826)
• Waverley H 26 (1826-1828)
• Storm(after Shakespeare, with chorus) H 52 (1830)
• King Lear Op.4, H 53 (1831)
• Rob Roy H 54 (1831)
• Benvenuto Cellini H 76b (1838)
• Roman carnival Op.9, H 95 (1844)
• Corsair Op.21, H 101 (1846-1851)
• Beatrice and Benedick H 138 (1860-1862)

Concert works

• Reverie et caprice- for violin and orchestra Op. 8, H 88 (1841)
• March to last scene Hamlet H 103 (1844)
• March of the Trojans H 133b (1864)

Vocal works

• Summer nights Op.7, H 81

Cantatas

• Greek Revolution(2 different versions) H 21a, H 21b (1825-1826, 1833)
• Death of Orpheus H 25 (1827)
• Erminia H 29 (1828)
• Cleopatra H 36 (1829)
• Death of Sardanapalus H 50 (only a small fragment survives) (1830)
• 5 May Op.6, H 74 (1831-1835)
• Erigona(only a fragment has survived) H 77 (1835-1838)
• Hymne à la France H 97 (1844)
• Chant des chemins de fer H 110 (1846)
• L'Imperiale Op.26, H 129 (1854)
• Le Temple universel Op.28, H 137 (1861)

Operas

• Secret judges H 23 (only fragments survive) (1825-1834)
• Benvenuto Cellini Op.23, H 76a (1838)
• La nonne sanglante H 91 (unfinished) (1841-1842)
• Damnation of Faust Op.24, H 111 ( La Damnation de Faust, 1846)
• Trojans H 133a ( Les Troyens, 1863)
• Beatrice and Benedick H 138 (1863)

Choral works

• Solemn Mass ( Messe Solennelle) H 20 1824
• Requiem Op. 5, H 75 ( Grande Messe des morts, 1837)
• Te Deum Op. 22, H 118 1848-1849
• Oratorio Childhood of Christ Op. 25, H 130 (L'enfance du Christ , 1853-1854)

Cinema

Films and television series have been made about the life and work of Hector Berlioz.

XCHARACTERISTICS OF CREATIVITYBERLIOZA

Hector Berlioz(12/11/1803, Côte-Saint-André, France, – 3/8/1869, Paris). Born into the family of a doctor, a free-thinking, enlightened person. In 1821, Berlioz became a medical student, but soon, despite the resistance of his parents, he left medicine, deciding to devote himself to music. In 1826-1830 Berlioz studies at the Paris Conservatory with J. F. Lesueur and A. Reicha. Received the Prix de Rome (1830) for the cantata Sardanapalus. Returning to Paris in 1832, he studied composing, conducting, critical activities. Since 1842 he toured a lot abroad. He performed triumphantly as a conductor and composer in Russia (1847, 1867-1868).

Berlioz is a prominent representative of romanticism in music. Berlioz was an innovative artist: he boldly introduced innovations in the field of musical form, harmony and especially instrumentation (in the field of orchestration Berlioz was an outstanding master), gravitated towards theatricalization symphonic music and the grandiose scale of his compositions.

Berlioz's work also reflected the contradictions inherent in romanticism. In 1826, the cantata “The Greek Revolution” was written, which became a response to the liberation struggle of the Greek people. Berlioz greeted the July Revolution of 1830 with delight: on the streets of Paris he practiced revolutionary songs with the people, including the “Marseillaise” he arranged for choir and orchestra. A number of Berlioz’s major works reflected revolutionary themes: the grandiose “Requiem” (1837) was created in memory of the heroes of the July Revolution. However, Berlioz did not accept the Revolution of 1848. In the last years of his life, Berlioz became increasingly inclined to moral problems; at this time he created the oratorio trilogy “The Childhood of Christ” (1854) and the operatic duology “The Trojans” based on Virgil (“The Taking of Troy” and “The Trojans in Carthage”, 1855-1859).

Berlioz's style was already defined in the Symphony Fantastique (1830, subtitled "An Episode from the Life of an Artist"). This is Berlioz's most famous work - the first romantic software symphony. It reflected the typical moods of that time (conflict with reality, exaggerated emotionality and sensitivity). The artist’s subjective experiences rise in the symphony to social generalizations: the theme of “unhappy love” takes on the meaning of a tragedy of lost illusions. Following the “Symphony”, Berlioz wrote the monodrama “Lelio, or Return to Life” (1831 - continuation of the “Symphony”).

Berlioz was attracted to the plots of works by Byron (symphony for viola and orchestra “Harold in Italy” - 1834, overture “The Corsair” - 1844) and Shakespeare (overture “King Lear” - 1831, dramatic symphony “Romeo and Juliet” – 1839, comic opera “Beatrice and Benedict” – 1862). He also loved Goethe (dramatic legend (oratorio) “The Damnation of Faust” - 1846). Berlioz also wrote the opera “Benvenuto Cellini” (staged in 1838), cantatas, orchestral overtures, romances, etc.

Berlioz was an outstanding conductor. Berlioz also made a significant contribution to the development of musical critical thought. He was the first among foreign critics to appreciate the importance of M.I. Glinka (article about Glinka - 1845) and Russian music in general.

« FANTASTIC SYMPHONY"

1) The symphony is inspired by the story of Berlioz’s passionate love for the actress Smithson. This symphony brought him success and fame. Symphony software(i.e. it has a plot) and consists of five parts. The same theme runs through all parts - leitmotif beloved. This topic itself is tense and controversial. It begins with fanfare intonation. The theme is constantly transformed, as are the hero’s visions.

2) The orchestra is standard, but the composition of the wind and percussion groups has been increased, unusual instruments have been used, for example, English horn, clarinet in Es, ophiclede (second tuba), bells (with f.-p.), etc.

3) Composition:

Part 1- “Dreams. Passion." (The plot: the main character takes a drug and begins to hallucinate.) The entire first part is permeated with the leitmotif of the beloved. Starts with a slow intro in character lamento(c- moll), fundamental key C- dur.

Part 2- “Ball.” For the first time Berlioz introduced into the symphony waltz. Two solo harps. Beloved's leitmotif in the middle, in key F major.

Part 3- “Scene in the Fields.” Inspired by Beethoven's "Pastoral Symphony". The most static part. The frame is a roll call of two shepherds (an English horn and an oboe). At the end - distant rumbles of thunder (4 timpani solo).

Part 4- “Procession to execution.” Main theme - g- moll. Introduction – ominous timbre of horns with mute. 2nd theme – solemn march ( B- dur). All the time there is a clear rhythm of the timpani (two timpani players). At the end - the initial intonation of the leitmotif (solo clarinet, pp ), then a blow (execution) and deafening fanfare ( G- dur; in an orchestra there is a tremolo of the bass and snare drums).

Part 5- “A Dream on the Night of the Sabbath.” Witches flock to the funeral of the main character, among them, in the guise of a witch, is his beloved. This is the most innovative part. It contains several episodes: 1) Witches' Gathering; in the orchestra there is chaos and isolated exclamations of instruments. 2) Arrives she. General joy, and then a riotous dance (solo Es-clarinet). 3) Black Mass: bell ringing, parody of the canon Dies Iræ . 4) Round dance of witches. In episodes - strings play col legno(bow shaft).

Berlioz's life represents a typical picture of the life of an advanced artist in a bourgeois society. The eternal struggle with material poverty, the need to do something other than one’s direct business for the sake of a piece of bread, the vain desire to break through the blank wall of misunderstanding of one’s creative thoughts,” hypocrisy, lies and falsehood around and internal loneliness - such was the lot of the musician, who is the pride of French national culture. It was tragic. Berlioz's life, starting from the struggle for the right to become a musician in early years and ending with death alone in the middle of an indifferent Paris.

Childhood and adolescence.

Hector Berlioz was born on December 11, 1803 in the small French town of Côte-Saint-André. His father; brought up in the spirit of French materialism of the 18th century, a passionate admirer of Jean-Jacques Rousseau, was a prominent doctor in this town. Being a highly educated man for his time, he gave the little one
Hector provided initial information in the field of literature, history, geography, and natural science. Little by little he introduced him to the world of music.
One of Berlioz's earliest great artistic impressions came from reading Virgil's Aeneid; interest and love for the ancient myth, embodied in this work of the ancient Roman poet, was reflected in one of Berlioz’s later works - the operatic duology “The Trojans”.
Berlioz received his earliest musical impressions in his hometown. This was military music that accompanied the return of Napoleonic troops from another campaign. He learned to play the flute and guitar. Playing the flute in the National Guard brass band, listening to quartets and singing romances in the houses of the provincial
intelligentsia, Berlioz became familiar with music.
At the end of 1821, Berlioz arrived in Paris, where, at the request and insistence of his father, he was to receive a medical education. But Berlioz did not feel any attraction to medical practice. A painful struggle begins between the forced pursuit of medicine and a passionate, ever-increasing attraction to music.
And Paris promised many artistic pleasures. The Grand Opera Theater staged operas by Gluck, Megul, Salieri, and Spontini.
Gluck's operas made an irresistible, incomparable impression on Berlioz. He became a passionate admirer of Gluck for life. Berlioz spent hours in the library of the Paris Conservatoire, immersing himself in the scores of Orpheus and Iphigenia in Aulis and memorizing them. Entirely surrendering to the charm of Gluck's music, he was indignant at the arbitrary cuts made during the performance of operas
Gluck in the theater, and often by bad performers. It was Gluck's music that caused Berlioz's final and irrevocable decision to become a musician.
But Berlioz had to face resistance from his parents. Having nothing against Berlioz's music studies in his leisure hours, they strongly and sharply objected to his making music his profession, and firmly insisted on his medical career. On this basis, an acute conflict arose, as a result of which Berlioz’s father
left him without financial assistance.
Tormented by discord with his family, and almost without a means of support, Berlioz nevertheless completely abandoned his medical studies and plunged into the elements of music and theater, becoming fascinated by the tragedies of Shakespeare and the operas of Gluck. He received permission to sit in the orchestra of the opera house, which allowed him to observe the playing of various instruments, as well as practically study their properties and capabilities.
For Berlioz, who had a natural sense of orchestral timbres, this was extremely important, as it contributed to the rapid mastery of the orchestral score.
But it was also necessary to think about serious, systematic studies in musical science, without which it is impossible to become a professional composer. And Berlioz was already the author of a number of works: romances with guitar accompaniment, two quintets for mixed composition (strings and winds) and some other works. Most of these works disappeared without a trace; some of them were destroyed by Berlioz himself.
Berlioz became a private student of the famous composer, an outstanding musical figure of the French bourgeois revolution of the late 18th century, Jean Francois Lesueur, who was then a professor at the Paris Conservatory. The author of a number of monumental choral and orchestral compositions that set the stage for revolutionary mass musical festivals, as well as operas, among which the opera “The Cave”, saturated with fiery revolutionary passion, was particularly successful, Lesueur was the bearer of the musical traditions of the French bourgeois revolution and passed on these traditions to Berlioz.
During his studies with Berlioz, Lesueur was already over sixty. He, while remaining a convinced adherent of Gluck's musical-dramatic principles, believed that music is able to convey and express any dramatic action, any movement of the human soul. For him, music is, first of all, a truthful language, expressive and picturesque, capable of embodying great and deep dramatic content. Lesueur was a proponent of programmatic and visual music. Largely thanks to Lesueur, Berlioz devoted his work exclusively to program music.
In 1826, he entered the conservatory in Lesueur's composition class, despite the hostile attitude towards him from the director of the conservatory, Cherubini, who did not like Berlioz for his courage and novelty of musical ideas. As a composition student of Lesuzre, Berlioz simultaneously studied counterpoint and fugue at the conservatory under the guidance of Professor Reich.
Even before entering the conservatory, Berlioz wrote the heroic scene “The Greek Revolution” for chorus and orchestra to a text by his friend Humbert Ferrand. Major works written within the walls of the conservatory were: the lyrical scene “The Death of Orpheus” (composed for a competition at the conservatory), the overture “Weaverly” and the overture to the opera “The Secret Judges”; the libretto of the opera has not survived, and its plot in its final form remains completely unknown.
In the autumn of 1827, Berlioz was impressed by the following fact, which greatly agitated his nervous nature and disrupted the usual rut of life: a Shakespearean cycle was announced at the Odeon Theater, performed by a troupe of English dramatic actors. Berlioz was a constant regular at these performances. The dramatic power of tragedies
Shakespeare, titanic passions, the sharpness and brightness of tragic conflicts, the freedom of dramatic composition, overthrowing the frozen canons of classicism - all this turned out to be close to the advanced romantic artist and captured him.
But it was not only Shakespeare's dramas that revolutionized Berlioz's soul. The role of Ophelia, Juliet, and Desdemona was played by the young beautiful actress, Irish by birth, Harriet Smithson. Berlioz immediately felt a deep passion for her, but his love did not receive an answer. The personal drama experienced by Berlioz did not interrupt his work; For the cantata “Erminia and Tancred” he was awarded the second prize of the Conservatory. With feverish haste, Berlioz worked in 1828 on “Eight Scenes” from Goethe’s “Faust,” which were later included in one of his largest works, “The Damnation of Faust”;
in 1829, Berlioz wrote “9 Irish Melodies” based on texts by Thomas Moore and a number of other works. Berlioz experienced a truly amazing impression when he first heard
1828 Beethoven's symphony in an excellent performance by the conservatory orchestra conducted by Gabenek. This was a real revelation for him. From now on, Beethoven became one of his idols.

"Fantastic Symphony"

Berlioz's first major work, in which he reached full creative maturity, was the Symphony Fantastique.
"Symphony Fantastique" is one of Berlioz's most characteristic and significant works. Subtitled “An Episode from the Life of an Artist,” the symphony
In romantic-fantastic colors it depicts the love experiences of the artist, that is, Berlioz himself, painfully suffering from unrequited love for Harriet Smithson. This is the autobiographical content of the symphony. But the meaning of the Fantastic Symphony is broader: in conditions of social oppression and political reaction, when an advanced artist is forced to oppose himself to the surrounding world of lies and
violence, privacy issues and inner world the artist acquires a special poignancy. Therefore, Berlioz’s Symphony Fantastique is not just an “autobiographical novel” in music, not just a personal confession, but also a significant monument of the era, revealing peace of mind a young man of the 20s of the 19th century - a contemporary
Berlioz. All five movements of the symphony, the program of which was created by Berlioz himself and inspired by the story of his passionate love, are united by one theme, a kind of leitmotif; This is the image of a beloved, which the composer called an “obsession” (idee fixe). Berlioz introduces the leitmotif into the symphony for the first time as a means of uniting various
parts of the cycle. At the same time, the role of the leitmotif and its changes are determined by the development of the program and plot.

Revolution of 1830.

The July Revolution of 1830 broke out. The streets of Paris were covered with barricades. Berlioz at this time was busy composing the cantata “Sardanapalus” based on Byron’s tragedy and Delacroix’s painting. Having completed the last page of the cantata in the midst of the revolution and picking up
revolver, he goes out into the street and, not afraid of bullets and cannonballs flying past, begins to sing “La Marseillaise” at the top of his lungs. Gradually a crowd gathers around Berlioz. Infected by his revolutionary enthusiasm, she takes up the singing of the Marseillaise, solemnly and joyfully marching through the streets of Paris. This fact is vividly and vividly described in Berlioz's Memoirs.
Under the influence of the revolutionary upsurge, Berlioz instrumentalized La Marseillaise for a large orchestra and double choir, after which he received a warm, friendly, thank-you letter from its author, Rouget de Lisle. On the score of La Marseillaise, Berlioz wrote the following inscription: “For everyone who has a voice, heart and blood.”

Great Rome Prize. Italy.

The revolution died down, and Berlioz remembered the just completed cantata “Sardanapalus”, which he wrote to compete for the Rome Prize; this prize gave
the composer has the right to live at public expense in Italy and improve his art there. Having performed the cantata at the end of 1830, Berlioz was awarded the Grand Roman
awards.
On the way to Rome, Berlioz, in whom the revolutionary fervor had not yet cooled, joined the Italian revolutionary party of the Carbonari and cherished the dream of an all-Italian uprising. But in Rome he was disappointed: the academic, conservative artistic atmosphere of the Villa Medici, where the winners of the Rome Prize lived, did not in any way correspond to Berlioz’s innovative aspirations.
Prone to extremes and unbalanced, Berlioz dreams of setting fire to the Villa Medici, and, together with several other disillusioned young people, forms the “Society of Indifferent to the Universe.”
At the same time, Italy gave Berlioz many new living impressions: nature, art museums, various pictures of everyday life - all this suggested the plots and themes of such works as “Harold in Italy”, “Benvenuto Cellini” and the “Roman Carnival” overture. In Rome, Berlioz created the overtures “The Corsair” (after Byron), “King Lear” (after
Shakespeare) and some other works.
In Rome, Berlioz first met M.I. Glinka, who had just arrived in Italy with the singer Ivanov; but this meeting has not yet led to mutual rapprochement. Much later (in 1845), Berlioz recalled this meeting in an article about Glinka: “In 1831 I met him (Glinka - B.L.) in Rome... and I had the pleasure
to hear then, at an evening with Horace Bernet, then director of the French Academy in Rome, several Russian romances by Glinka, excellently performed by the Russian tenor Ivanov. They greatly impressed me with the charming structure of their melody, completely different from everything I had heard before!..”

Return to Paris.

In 1832, without waiting for the end of his stay in Rome, Berlioz returned to Paris. Here he witnessed musical news: Meyerbeer reigned on the stage of the Grand Opera, whose opera “Robert the Devil” was recently performed (1831) with unprecedented triumph and brought its author all-European fame. WITH
The name of Paganini, who plunged the public into amazement with his virtuoso violin playing and “demonic” temperament, never left their lips. There were even fantastic legends about him. They also talked about Chopin, who had recently arrived from Poland, whose deeply spiritual playing and compositions brought high artistic pleasure to visitors to salons and concert halls.
Berlioz is overwhelmed by the vibrant life of Paris. Again he meets with Harriet Smithson. The former passion flares up in Berlioz with renewed vigor. On December 9, 1832, Berlioz arranges a performance of the Symphonie Fantastique along with the recently written monodrama Lelio, or the Return to Life, which is a continuation of the Symphonie Fantastique. Berlioz hopes for Smithson's presence at this concert. This is how he remembers this evening. Heine: “It was in the “Conservatoire de musique” and his (Berlioz. - B.L.) great symphony was performed there, a bizarre night picture, only from time to time illuminated by a sentimental white woman’s dress that flashes in
her, or the sulfur-yellow lightning of irony. The best thing about it is the witches' Sabbath, where the devil serves mass and Catholic church music is parodied with the most terrible, bloodiest buffoonery... My neighbor in the box, a talkative young man, showed me the composer, who was at the very end of the hall, in the corner of the orchestra, and striking the timpani. After all, the timpani is his instrument. “Do you see in the box at the front of the stage,” the neighbor said to me, “this fat Englishwoman?” This is Miss Smithson; Mr. Berlioz has been mortally in love with this lady for three years now, and to this passion we owe the wild symphony that you have today
listen." Indeed, the famous actress of Coventgarden was sitting in the proscenium box.
Berlioz did not take his eyes off her, and every time his gaze met hers, it was as if he struck his kettledrums in rage. Miss Smithson has since become Madame Berlioz, and her husband has since cut his hair.
When this winter I again listened to his symphony at the Conservatory, he was again sitting in the back of the orchestra at the timpani, the fat Englishwoman was again sitting in the proscenium box, their gazes met again, but he was no longer striking the timpani so fiercely.”
Berlioz's work did not find wide recognition in Paris. It was too far from the usual routine. Only a small group of advanced artists were able to appreciate it. Liszt, who was greatly impressed by the Symphony Fantastique, made a piano transcription of it and played it in his concerts. Schumann wrote one of the remarkable articles about this symphony, in which he gave detailed
analyzed the symphony and (most importantly) defended program music. Paganini, delighted with the Symphony Fantastique, commissioned Berlioz to perform a concerto for viola and orchestra.

"Harold in Italy".

Berlioz, with his characteristic passion, plunged into the work, and in a short time the work was ready, but the viola part turned out to be insufficiently winning and virtuosic. The result was not so much a concerto for viola as a symphony with solo viola. Berlioz, based on the general mood and content of the symphony, borrowed its program from Byron’s poem “Childe Harold” and called it the “Harold in Italy” symphony. Its first performance took place in November 1834. In it, as in “Fantastic,” there is a leitmotif that characterizes the gloomy image of Byron’s Childe Harold. But since a solo viola with its somewhat melancholic timbre is selected to embody the image of the main character, we can talk here not only about the leitmotif, but also about the leittimbre. The symphony consists of the following parts: first.- “Harold in the tori. Scenes of melancholy, happiness and joy"; second - “Procession of the Pilgrims,
singing evening prayer"; the third is “Love Serenade of a Highlander in the Abruzzi”; fourth - “Orgy of Robbers. Memories of previous scenes."
The performance of the symphony did not improve Berlioz's financial affairs. The concerts brought losses. To earn money, he was forced to write feuilletons in the Journal des Debats (Journal of Debates) and in other press organs.

Musical-critical activity.

This work caused him a lot of mental suffering due to the need to write about something that was of no interest to him. This situation sometimes drove Berlioz to nervous attacks. So, he writes in his memoirs: “I sat with my elbows on the table, holding my head in both hands, and then I walked with long steps, like a sentry in the cold of twenty-five degrees. I went to the window and looked at the surrounding gardens, at the heights of Montmartre, at the sunset... and immediately my dreams took me a thousand miles away from my damned comic opera. And when I turned and my gaze fell again on the damned name written at the top of the damned piece of paper, still blank and inexorably awaiting the words with which it should be covered, I
I felt myself overcome with despair. My guitar was leaning against the table - with one kick I split its belly. Two pistols lying on the fireplace stared at me with their round eye sockets...
I looked at them for a long, long time... Finally, like a schoolboy who cannot memorize a lesson, I began to sob in a fit of indignation...”
Much later, Berlioz wrote to his son: “I am so sick that the pen falls out of my hands every moment, and yet I have to force myself to write in order to earn my pitiful hundred francs...” Berlioz’s musical, critical and journalistic activities, which continued about thirty years (until 1863), played a huge role
role in the development of musical critical thought in the West. Berlioz's articles and feuilletons are concentrated in subsequently published collections: “Musicians and Music”, “Among Songs”
(“A travers chants”), “Musical grotesques”, “Evenings in the orchestra”, “Musical journey”. The genres of Berlioz's articles are varied: sometimes they are witty feuilletons with a certain amount of humor; sometimes fictional short stories, and sometimes articles with scientific analyzes of musical works.
Berlioz took advantage of every opportunity to promote great, highly ideological art. Directly responding to the events of the musical (opera and concert) life of Paris, he left remarkably interesting, lively and vividly written, although somewhat paradoxical, articles about the operas of Gluck, Mozart, Weber, Meyerbeer, Gounod, the symphonies of Beethoven and others. In his last article (1863), Berlioz responded to the first production of Bizet's opera The Pearl Fishers, giving it high praise.
Berlioz fought for a careful attitude to the classical heritage and was indignant at the unceremonious distortions of the classical operatic heritage in the productions of the Grand Opera Theater. Thus, a distorted production of Mozart’s opera “The Magic Flute” called “The Mysteries of Isis” provoked the following rebuke from Berlioz: “The Grand Opera, which several years before had so arrogantly refused to open its doors to him (Mozart - B.L.); the opera, usually so proud of its innovations, so proud of its sign "Royal Academy of Music"; opera, which considered it beneath its dignity to stage a work that had already been staged
other theaters - she got to the point where she considered herself lucky to learn the translation of The Magic Flute! When I say “translation,” that’s not the right word; I should call it “Pasticchio,” a crippled, tasteless pasticcio that entered the repertoire under the name “The Mysteries of Isis.”
Among Berlioz's statements about music there are many that, captivating with their poetic imagery, correctly and accurately characterize the very essence of music. Here, for example, is a description of Agatha’s aria from the second act of Weber’s opera Freischutz, for the production of which at the Grand Opera Theater Berlioz wrote recitatives that replaced
conversational dialogues: “Never, not a single master - neither German, nor Italian, nor French - was able to express so much in just one scene of prayer: melancholy, anxiety, meditation, the sleep of nature, the eloquent silence of the night: the mysterious harmony of the starry sky, the torment of waiting , joy, rapture, delight, self-forgetfulness of love!” .
There are many interesting and vivid poetic analogies and pictorial descriptions in Berlioz's articles on Beethoven's nine symphonies. Let us cite the famous description of the scherzo from the Sixth Symphony (“Merry Gathering of Villagers”): “Here they dance, laugh (at first, still restrained); the bagpipes play a cheerful tune, accompanied by the bassoon with just two sounds. Probably with this Beethoven wanted to portray some good-natured old German, perched on a barrel with his inferior, broken instrument, from which he hardly extracts the two main sounds of the tonal F - the dominant and the tonic.

Berlioz and Glinka.

Particular attention should be paid to Berlioz’s article about Glinka, which characterizes Berlioz as an advanced musician who was one of the first in the West (along with Liszt) to understand and appreciate the genius of Russian music. Berlioz met Glinka in Paris in 1844,
here they often began to meet. Glinka writes about this in his “Notes”: “He treated me extremely kindly (which you cannot get from most of the Parisian artists, who are unbearably arrogant) - I visited him three times a week, openly talking with him about music and especially about his works, which I liked...”
Berlioz included works by Glinka in his concert programs. But this was not enough for him. He wrote a letter to Glinka asking him to send his creative autobiography for the article. Glinka, out of his modesty, did not fulfill Berlioz’s request. His friend, writer and music critic N.A. Melgunov did this for him. After this, Berlioz published an article about Glinka in the Journal des Debats, in which he gave an exceptionally high assessment of both Glinka’s operas, and, completely agreeing with P. Mérimée, notes that Glinka in Ivan Susanin “excellently captured and conveyed everything that there is something poetic in this simple and at the same time pathetic composition.” "Ruslan" -
says Berlioz, “undoubtedly a step forward, a new phase in Glinka’s musical development.” Further, Berlioz writes: “His melodies are characterized by unexpected turns, a charming unusualness of periods. He is a great harmonica player and writes for instruments with care and knowledge of their most intimate expressive possibilities what does his orchestra do
one of the most vital orchestras... The Scherzo (Berlioz here means “Waltz-Fantasy.” - B.L.) is fascinating, full of unusually piquant rhythmic coquetry, it is distinguished by genuine novelty and excellently developed. His krakovian and march (meaning “Chernomor March” - B.L.) shine with special originality of melodies. This merit is very rare, and when a composer adds to it graceful harmony and beautiful, bold, clear and colorful orchestration, he can rightfully take his place among outstanding composers of its time."
Musical-critical activity, as well as composing, could not provide financial support for Berlioz. He was supposed to work as an assistant curator of the library of the Paris Conservatoire. Despite the fact that there was not much time left for creativity, Berlioz worked tirelessly on new compositions. At the end of 1837, the first performance of the Requiem dedicated to
in memory of the victims of the July Revolution of 1830. In September 1838, the opera Benvenuto Cellini was first staged, on which he worked for three years (1834-1837).

Requiem.

In terms of music and design as a whole, Berlioz's Requiem goes far beyond the boundaries of a religious cult. This is a monumental fresco, covered in the breath of revolutionary storms, decorative and impressive, designed to be executed in the acoustic conditions of streets and squares or in rooms larger than usual concert hall. The mass character of this work, which revived the democratic traditions of music from the era of the French bourgeois revolution of the late 18th century, was expressed in
in particular, in the extreme strengthening and enlargement of the executive apparatus. In Berlioz's Requiem, in the section called "Tuba mirum", the huge symphony orchestra and enlarged choir are joined by four additional brass orchestras located in the choirs at different ends of the hall. This
creates a sonority of hitherto unprecedented physical power and is associated not at all with the trumpet of an archangel calling sinners to the Last Judgment, but rather with fanfares rushing from different directions, calling for revolutionary battles. In the words of Romain Rolland, “these hurricanes are created in order to speak to the people and uplift the clumsy
human ocean." But the Requiem also contains pages of the finest sound recording (for example, “Sanctus”) and dramatic expression (“Lacrymosa”).
The Paris performance of the Requiem was not a success and went unnoticed. And four years after that, in 1841, Berlioz received news of the enormous success of the Requiem in distant Russia, still unfamiliar to him. On this occasion, he wrote to Humbert Ferrand: “You, of course, have heard about the terrible success of my Requiem in St. Petersburg. It was performed in its entirety in a concert, given specifically for this purpose, by all the orchestras of St. Petersburg theaters, together with the choir of the court chapel and the choirs of two guards regiments. According to the stories of people present at the concert, the performance, conducted by Andrei Romberg, was incredibly majestic." Thus, in Russia, earlier than in Berlioz’s homeland, one of his most important creations was appreciated.

"Benvenuto Cellini".

Benvenuto Cellini's opera, staged at the Paris Grand Opera in September 1838, was a failure. Only much later, in 1852, did Liszt successfully stage it in Weimar. The plot of the opera is a love episode from the life of the famous Italian sculptor, artist and jeweler of the 16th century Benvenuto Cellini, taking place against the backdrop of Roman carnival fun. In the opera, Cellini is shown not only as a lover who kidnaps a bride, but also as great artist, to whom love gave the strength to cast a magnificent statue of Perseus in an unusually short time. This is the idea of ​​an opera, full of life, brilliance, and inexhaustible invention, especially in pictures of carnival celebrations. In 1843, Berlioz wrote the second overture to this opera, now quite popular and known as “The Roman Carnival”.
The failure of Benvenuto Cellini in Paris had a depressing effect on Berlioz, and for many years he did not turn to operatic creativity. But in the same year, 1838, he was destined to experience joy. Paganini was present at the concert in which Berlioz conducted the Symphony Fantastique and Harold in Italy. After
concert, the great violinist rushed to Berlioz, knelt before him and kissed his hands with tears of delight. The next day, Berlioz received a letter from Paganini, which contained the following words: “The genius of Beethoven has died, and only Berlioz can revive him.” In the same letter, Paganini also sent Berlioz a check for twenty
thousand francs.

"Romeo and Juliet".

Such a generous gift gave Berlioz, who had always struggled to make ends meet, the opportunity to freely engage in creative work for at least a year, without thinking about a piece of bread. And during this year, Berlioz wrote one of his inspired and grandiose works - the dramatic symphony with choirs "Romeo and Juliet", performed for the first time in Paris on November 24, 1839. Berlioz was in love with this tragedy of Shakespeare all his life.
From Rome he wrote: Shakespeare's Romeo! God! what a plot! Everything in it seems to be destined for music!.. A dazzling ball in the Capulet house... these frantic fights in the streets of Verona... this inexpressible night scene at Juliet's balcony, where two lovers whisper about love, tender, sweet and pure, like rays night stars... the piquant buffoonery of the careless Mercutio... then a terrible catastrophe... sighs
voluptuousness turning into the wheeze of death, and, finally, a solemn oath of two warring families over the corpses of their unfortunate children - to end the hostility that caused so much blood and tears to be shed...”
It is significant that Berlioz embodied the plot of Romeo and Juliet not in an opera, but in a programmatic symphonic work. However Active participation in this symphony of soloists and choir brings it closer to the operatic-oratorio-cantata genres. That is why the symphony is called “dramatic”. By introducing a chorus and soloists into the symphony, Berlioz obviously follows the path indicated by Beethoven's Ninth Symphony. But, unlike the latter, where the vocal element enters only in the finale, Berlioz uses it almost throughout the entire symphony. The last part, which is a recitative and a large aria by Father Lorenzo with the choir singing the oath of reconciliation, could be an opera scene. Along with this, the key moments of the tragedy are revealed purely
symphonic, orchestral means; such are the street fight at the beginning of the symphony, Romeo’s loneliness and the Capulet’s ball, the night of love, the scene in Juliet’s crypt. One of the best orchestral episodes is the fantastic scherzo depicting the queen of dreams, the fairy Mab. The special programmatic concept of the symphony forced Berlioz to decisively
to deviate from the classical symphonic tradition and, instead of the usual four-part cycle, create a multi-part work in which the arrangement and sequence of parts and the internal structure of each individual part, the change of episodes in it are entirely determined by the sequence of events in the development of the plot. And yet in average
parts of the symphony (“Night of Love” and “Fairy Mab”) one can see a connection with the symphonic Adagio and Scherzo. In its size, Berlioz's Romeo and Juliet symphony surpasses everything that existed before in the symphonic field. It is designed for a whole concert in two parts.

"Funeral-triumphal symphony."

After such a gigantic work, the tireless Berlioz began writing a new symphony. In 1840, he wrote the “Mourning and Triumphal Symphony” - the second work after the Requiem, dedicated to the memory of the victims of the July Revolution of 1830.
The “Mourning and Triumphal Symphony”, originally written for a huge brass band (a string section is optional) is designed for the acoustics of streets and squares. The first performance of the symphony took place on the occasion of the transfer of the ashes of the victims of the July Revolution and the consecration of a column in their memory. Gathering musicians from all over Paris and
Having joined them to the orchestra of the National Guard, Berlioz walked ahead of the orchestra through the streets of Paris, conducting the saber. The symphony consists of three movements: the first - “Funeral Procession”; the second is the “Funeral Oration” performed by a solo trombone (a bold move: this kind of pathetic declamation by a solo trombone has never been seen in music before); the third is “Apotheosis” (“Glory to the Fallen Heroes” for orchestra and choir). Richard Wagner described this symphony as follows, emphasizing its democracy: “When I listened to his “Funeral Symphony,” written in honor of the funeral of the victims of the July Revolution, I
I clearly felt that in all its depth it should be understandable to every street boy in a work blouse and a red cap... I, truly, prefer this symphony to all other works of Berlioz, since it is noble and significant from the first to the last note. There is no place for painful exaltation in her - she is saved from this by a high patriotic feeling, gradually growing from a complaint to a powerful
apotheosis..." Here is the composition of the orchestra of the "Funeral-Triumphal Symphony" during
its first performance: 6 large flutes, 6 piccolo flutes, 8 oboes, 10 clarinets in Es, 18 clarinets in B, 24 horns, 10 trumpets in F and 9 trumpets in B, 10 cornets-a-pistons, 19 trombones, 16 bassoons , 14 ophicleides, 12 large and 12 small drums, 10 pairs of timpani, 10 pairs of cymbals, 2 tom-toms. Berlioz provided for the orchestra to include 150
strings and a large choir in the finale.

"The Damnation of Faust."

Among the works of Berlioz created in the 40s, the largest and most significant is the dramatic legend “The Damnation of Faust,” based on the plot of Goethe’s “Faust” translated by the French poet Gerard de Nerval. As mentioned above, Berlioz included here “8 scenes from Goethe’s Faust” written much earlier. Performed for the first time in December 1846, this work is, in a sense, the result of the composer’s previous creative work. Here the process of rapprochement between the program symphony and
operatic and oratorio genres. “The Damnation of Faust” is, of course, not an opera, although a number of features of an opera are evident (arias, ensembles, recitatives, choruses, even a description of the scene and the actions of the characters). Berlioz created his own
a dramatic legend intended for concert performance, and attempts to stage it on the opera stage invariably failed. The composer freely approached the interpretation of Goethe's greatest dramatic poem and rethought it in the spirit of his romantic impulses. Unlike Goethe, he “condemned” Faust. Berlioz's Faust is not freed from the power of Mephistopheles, but is plunged along with Mephistopheles into the underworld. In order to create a number of romantic colorful paintings, Berlioz introduces scenes that are absent from Goethe: the plains of Hungary, along which Faust wanders, the banks of the Elbe, where sylphs circle above the sleeping Faust. All of these are magnificent examples of the musical landscape. No less bright and colorful are the crowd scenes - a cheerful feast in Auerbach's Leipzig cellar, songs and dances of the peasants. The fantastic scene of Faust and Mephistopheles' mad leap in the clouds and the subsequent scene of pandemonium (orgy of demons), echoing the witches' Sabbath from the finale of the Fantastic Symphony, were written with enormous scope and courage. Paler in music lyrical
scenes - Faust's aria in Margarita's house and the duet of Faust and Margarita. The most popular and often performed in concerts are three symphonic excerpts from The Damnation of Faust: the delicate and captivating “Ballet of the Sylphs”, the fantastic “Minuet of the Wandering”
lights" and the brilliant "Rakoczy March", written by Berlioz on the theme of the Hungarian people's march, which is the banner of the struggle of the Hungarian people for their national independence.
The performance of The Damnation of Faust in Paris did not bring joy to Berlioz.
There was very little audience, the concert went unnoticed, and as a result Berlioz, whose financial affairs were in a deplorable state, was ruined.

An unwritten symphony.

In Berlioz’s Memoirs there is an impressive account of how, under the pressure of desperate need, he forced himself to abandon a new symphony: “Two years ago, at a time when the state of my wife’s health left some hope of improvement and required the greatest expenditure from me , one night I heard in a dream a symphony that I dreamed of writing. Waking up in the morning, I remembered almost entirely its first movement, which (this is the only thing I remember) was in two-beat time (allegro), in A minor. I already went to the table to write it down, but then I thought: if I write down this passage, I will get carried away and start composing further. An outpouring of feelings to indulge in
Now I always strive with all my soul to bring this symphony to grandiose proportions. I will spend, perhaps, three or four months on this work alone... I will no longer be able, or almost impossible, to write feuilletons, and, therefore, my income will decrease even more. Later, when the symphony is written, I, of course, will yield to the insistence of my copyist; I will give it to correspondence and thus immediately incur a debt of one thousand to one thousand two hundred francs. After all the parts have been rewritten, I will begin to be tormented by the temptation to hear my work. I will give a concert, the proceeds from which will just cover half of my expenses. This is now inevitable. I will lose what I have left, I will deprive my unfortunate patient of the most necessary things, I will have nothing left to cover my personal expenses and to pay my pension
to his son on the ship he is about to leave for.
All these thoughts made me tremble, and I put down my pen, saying:
- Bah! Tomorrow I will forget this symphony!

The next night the stubborn symphony returned and sounded in my head again. I clearly heard the same allegro in A minor and - moreover - I saw it written. I woke up full of nervous excitement and sang the theme allegro, the form and character of which I liked extremely. I was about to get up, but... the same thoughts as the day before again held me back. I suppressed it in myself
temptation, hoping for only one thing - to forget. Finally I fell asleep again, and
the next morning, upon awakening, and in fact, the memory disappeared and never returned.” This stunning document is a powerful testament to the artist's position in a capitalist society.

Concert trips.

In search of a way out of this difficult situation, Berlioz made a concert trip to Germany, where he conducted his works. But most of all he dreamed of a trip to RUSSIA, especially after meeting Glinka in Paris and becoming more familiar with his music. Berlioz was able to complete this trip only in March 1847. On the eve of Berlioz's first concert in St. Petersburg, V. F. Odoevsky published in the newspaper
“St. Petersburg Gazette” published an article entitled “Berlioz in St. Petersburg,” in which he tried to prepare the public for the reception of the outstanding French musician. The night after the concert, Odoevsky, under fresh impression, wrote an enthusiastic article in the form of a letter to Glinka, who was in Spain at that time: “Where are you, dear friend?
Why aren't you with us? Why don’t you share the pleasure with all of us, who have at least one musical string in them? Berlioz was understood in St. Petersburg!” .
It was truly a great success. Berlioz himself recalls in his Memoirs:
“Finally, the concert ended, the kissing and hugging calmed down, and, having drained a bottle of beer, I decided to ask about the financial result of this experience.
Eighteen thousand francs! The concert cost six thousand, I was left with twelve thousand francs of net profit. I was saved! Then I involuntarily turned to the southwest and could not resist saying quietly, looking towards France: “That’s it, dear Parisians!”
Having given a second concert in St. Petersburg with equal success, Berlioz went to Moscow. About the Moscow concert he wrote: “... an audience whose ardor and impressionability are, in any case, equal to the ardent public of St. Petersburg, and also such a total result as a profit of eight thousand francs. I turned to the southwest again after the concert, once again thinking about my jaded and indifferent compatriots
and said a second time: “That’s it, dear Parisians!”
His stay in RUSSIA left Berlioz with an extremely gratifying impression: a warm welcome from the public and prominent leading musicians (among them was Stasov, who wrote rave reviews about Berlioz’s concerts), material success, the wonderful orchestra of the St. Petersburg Opera, which sensitively obeyed Berlioz’s baton - all this
aroused in him a feeling of gratitude and sympathy. The choir of the St. Petersburg court singing chapel was rated extremely highly by him, which he repeatedly wrote about in letters.
The revolution of 1848 found Berlioz in Paris. But Berlioz, who greeted the July Revolution of 1830 with such enthusiasm and then organized the singing of “La Marseillaise” on the streets of Paris, reacted to the revolution of 1848 with undisguised hostility. Through personal adversity, he was unable to discern and understand events of great historical significance. But both social mores and the state of art in Paris during the Second Empire brought Berlioz deep disappointment. Only Gounod's early operas and Bizet's The Pearl Fishers evoked a positive response from him.
And life really dealt Berlioz blow after blow. As before, material affairs were going badly: the money earned in RUSSIA had dried up; concerts in Paris and London did not improve the situation; Harriet Smithson, paralyzed, required special care; Berlioz eventually had to cope with her death; His only son Louis also died during a long voyage. Loneliness increasingly surrounded the aged, sick, broken composer, who was losing, one after another, relatives and friends who appreciated his art. And the Parisian “high society”, carried away by the cancan and fashionable songs, remained as indifferent to him as before.
Nevertheless, Berlioz worked intensively for the last fifteen years of his life and created a number of major monumental works. A noticeable change occurred in Berlioz’s work of this period: the former romantic heat that captivated him in his works of previous years has now cooled; a sick old man disappointed in life, withdrawn from the vital issues of our time, Berlioz turns to plots and
images of archaic antiquity, his music takes on a calm, balanced character.

Latest works.

In 1854, the oratorio “The Childhood of Christ” was written, consisting of three separate parts: “Herod’s Dream”, “Flight into Egypt”, “Arrival at Sais”. Despite the gospel theme, the oratorio is devoid of features of religious mysticism. On the contrary, it alternates various poetic paintings, idyllic, landscape, genre, and a lot of subtle sound painting.
Between 1856 and 1858, Berlioz worked on the operatic duology Les Troyens based on the plot of Virgil's Aeneid, in which he paid tribute to his constant idol Gluck. Written on an ancient plot, the work, called by Berlioz a “lyric poem,” consists of the following two parts: “The Capture of Troy” and “The Trojans in Carthage.” The first part depicts the death of Troy, conquered by the Greeks, and the flight of the son of the Trojan king Priam Aeneas; in the second part - the love of Aeneas and Queen Dido of Carthage and the death of Dido, abandoned by Aeneas. In 1863, the second part of the duology was first staged at the Lyric Theater in Paris. Les Troyens was staged in its entirety in Karlsruhe in Germany only on December 6 and 7, 1890, under the baton of the outstanding German conductor Felix Mottl.
It is characteristic that here, in the operatic work, Berlioz reveals the symphonic nature of his work. Thus, in “The Trojans in Carthage” the second act presents a “descriptive symphony” almost without the participation of voices, depicting a storm in the African forests during the hunt of Dido and Aeneas.
In August 1862, Berlioz's comic opera Beatrice and Benedict, his last work, was staged in Baden-Baden. This opera, written in the tradition of French comic opera with spoken dialogue, is based on the plot of Shakespeare's comedy Much Ado About Nothing.
After that, Berlioz created nothing more. In November 1867, despite his advanced age and illness, he came to Russia for the second time. Again, like twenty years ago, Berlioz's St. Petersburg concerts were accompanied by resounding success. So, he wrote to one of his friends: “The St. Petersburg public and the press treat me unusually warmly. At the second concert I was called up six times after the Symphony Fantastique, which was performed thunderously. Part 4 (“Procession to Execution”) was forced to be repeated. What an orchestra! What precision! What an ensemble! I don't know if Beethoven ever heard his works performed like this. And I must tell you that, despite my suffering, when I go up to the music stand and see all these nice people around me, I feel revived and conduct as I have perhaps never been able to conduct before.” In another letter, Berlioz wrote: “I am sick like 18 horses, I cough like 10 snotty donkeys, and yet I want to write to you before going to bed. Our concerts are going wonderfully. This orchestra is great and does what I want."
Berlioz's concert in Moscow was also successful, where he conducted his works in the Manege building in front of a crowd of twelve and a half thousand listeners.
In St. Petersburg during this visit, Berlioz became close friends with composers “ Mighty bunch", especially with Balakirev. On Berlioz's birthday, St. Petersburg musicians gave a dinner in his honor, during which Berlioz was presented with a diploma of an honorary member of the Russian Musical Society. Leaving St. Petersburg on February 1, 1868, Berlioz gave Balakirev his baton as a souvenir. After Berlioz's departure, his connections with Russia did not stop - he continued to correspond with Stasov and Odoevsky.
Berlioz returned to Paris tired and exhausted. The disease progressed, and in March 1869 he died.