Artist Info
1 to 50 |
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| Title | Release |
 Berlioz: Symphonie Fantastique |
2004 |
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Hector Berlioz: Symphonie Fantasique Op. 14A |
2004 |
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Symphonie Fantastique |
2004 |
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L'Enfance du Christ |
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 (72)  Harold en Italie (Harold in Italy), symphony for viola & orchestra, H. 68 (Op. 16) |
1971 |
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(187) Le carnival romain (Roman Carnival Overture), ouverture catactéristique for orchestra, H.95 (Op. 9) |
1931 |
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(135) Les Troyens, opera, H. 133a |
1993 |
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(80) Requiem (Grande Messe des morts), for tenor, chorus & orchestra, H. 75 (Op. 5) |
1967 |
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(513) Symphonie fantastique for orchestra ("Episode de la vie d'un Artiste...en cinq parties"), H.48 (Op. 14) |
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(11) Rob Roy Overture (Intrata di Rob-Roy MacGregor), for orchestra, H.54 |
1984 |
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(2) Le Cinq Mai, for bass, chorus & orchestra ("chant sur la mort de l'empereur Napoléon"), H. 74 (Op. 6) |
1987 |
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(2) Absence, song for voice & piano or orchestra, (Les Nuits d'été), H. 85 (Op. 7/4) |
1935 |
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(3) Adieu, Bessy, for tenor & piano ("Romance anglaise et française"), H. 46a (Op. 2/8) |
1993 |
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(2) Amitié, reprends ton empire, song for 2 sopranos, baritone & piano, H. 10b |
1991 |
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(2) Au cimetière, Clair de lune, song for voice & piano or orchestra, (Les Nuits d'été), H. 86 (Op. 7/5) |
2000 |
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Aubade ("Assez dormir"), for voice & 2 horns, H. 78a |
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(39) Béatrice et Bénédict, opera, H. 138 |
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(51) Benvenuto Cellini, opera, H. 76a, Op. 23 |
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(2) Canon libre à la quinte ("la nuit de son voile épais"), song for 2 voices & piano, H. 14 |
1991 |
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(4) Chanson à boire ("Amis la coupe écume"), for voice, chorus & piano (Neuf Mélodies irlandaises), H. 43, Op. 2/5 |
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(2) Chansonette de M. Léon de Wailly ("Au levant là-bas est une île"), song for voice & piano, H. 73 |
1991 |
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Chant des chemins de fer, for tenor, 6-part chorus & orchestra (Feuillets d'album), H. 110 (Op. 19/3) |
2003 |
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Chant des chérubins ("Adoremus"), for chorus (after Bortnyansky), H. 122 |
1997 |
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(6) Chant guerrier, for tenor, male chorus & piano (Neuf Mélodies irlandaises), H. 41 (Op. 2/3) |
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(7) Chant sacré, for tenor, male chorus & piano or orchestra (Neuf Mélodies irlandaises), H. 44 (Op. 2/6) |
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(3) Elégie en prose, song for tenor & piano, H. 47 (Op. 2/9) |
1993 |
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Feuillets d'album, songs (3) for voice & piano, H. 121 (Op. 19) |
1991 |
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(3) Fleurs des landes, songs (5) for voice & piano, H. 124 (Op. 13) |
1991 |
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(22) Grande Ouverture des Francs-Juges, for orchestra, H. 23d |
1981 |
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(4) Hélène ("Qui ne se souvient") for two voices (or male chorus) and piano (or orchestra), H. 40 (Op. 2/2) |
1988 |
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(13) Herminie, cantata ("scène lyrique") for soprano & orchestra, H. 29 |
2002 |
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(8) Huit Scénes de Faust, for solo voices, chorus, orchestra & guitar, H. 33 (Op. 1) WA |
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Hymne à la France, for chorus and orchestra, H. 97 (Op. 20/2) |
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(12) Hymne des Marseillais, for chorus & large orchestra (or piano; after Rouget de Lisle), H. 51 |
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Hymne pour la consecration du nouveau tabernacle, for chorus, piano & organ, H. 135 |
2003 |
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(2) Je crois en vous ("Quand mon âme ravie"), for voice & piano, H. 70 |
1991 |
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(31) King Lear Overture (Grande Ouverture du roi Lear), for orchestra, H. 53 (Op. 4) |
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(139) L' Enfance du Christ, oratorio for soprano, 2 tenors, baritone, 3 basses, chorus & orchetsra ("trilogie sacrée") H. 130 (Op. 25) |
1975 |
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(2) L' impériale, cantata for double chorus & orchestra, H.129 (Op. 26) |
1987 |
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(4) L' Origine de la harpe ("Cette harpe chérie") for soprano or tenor & piano (Neuf Mélodies irlandaises), H.45 (Op. 2/7) |
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L'Ile inconnue, song for voice & piano or orchestra (Les Nuits d'été), H. 87 (Op. 7/6) |
2000 |
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(4) L'Invitation à la valse (Invitation to the Dance), transcription for orchestra after Weber, H. 90 |
1923 |
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(5) La Belle Isabeau, song for voice & piano, ("conte pendant l'orange"; first version), H. 94 |
1991 |
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(13) La Belle voyageuse ("Elle s'en va"), song for voice & piano (Neuf Mélodies irlandaises), H. 42a, Op. 2/4 |
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(18) La Captive for voice & piano (or orchestra), H. 60 (Op. 12) |
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(376) La Damnation de Faust, for mezzo-soprano, tenor, baritone, bass, chorus and orchestra, ("légende dramatique") H. 111 (Op. 24) |
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(3) La Fuite en Égypte, for tenor, chorus & orchestra, H.128 |
1992 |
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(9) La Mort d'Ophélie, for women's chorus & orchestra ("ballade"; Tristia), H. 92b (Op. 18/2) WA |
1984 |
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(6) La Mort d'Ophélie, song for soprano (or tenor) & piano, H. 92a (Op. 18/2) WA |
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(4) La Mort d'Orphée, for tenor, women's chorus & orchestra ("monologue et bacchanale"), H. 25 |
1987 |
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(27) La Mort de Cléopâtre, for soprano & orchestra, H.36 |
|
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(3) La Mort de Sardanapale, cantata for soprano, male chorus & orchestra, H. 50 (fragment) |
1994 |
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(2) La Révolution grecque (Scène héroïque) for 2 basses, chorus & orchestra (or military band), H. 21 |
1987 |
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(5) Le Ballet des ombres, for chorus & piano ("ronde nocturne"), H. 37 (Op. 2) |
Individual Bio
Berlioz, the passionate, ardent, irrepressible genius of French Romanticism, left a rich and original oeuvre which exerted a profound influence on nineteenth century music. Berlioz developed a profound affinity toward music and literature as a child. Sent to Paris at 17 to study medicine, he was enchanted by Gluck's operas, firmly deciding to become a composer. With his father's reluctant consent, Berlioz entered the Paris Conservatoire in 1826. His originality was already apparent and disconcerting -- a competition cantata , Cléopâtre (1829), looms as his first sustained masterpiece -- and he won the Prix de Rome in 1830 amid the turmoil of the July Revolution. Meanwhile, a performance of Hamlet in September 1827, with Harriet Smithson as Ophelia, provoked an overwhelming but unrequited passion, whose aftermath may be heard in the Symphonie fantastique (1830).
Returning from Rome, Berlioz organized a concert in 1832, featuring his symphony. Harriet Smithson was in the audience. They were introduced days later and married on October 3, 1833.
Berlioz settled into a career pattern which he maintained for more than a decade, writing reviews, organizing concerts, and composing a series of visionary masterpieces: Harold en Italie (1834), the monumental Requiem (1837), and an opera , Benvenuto Cellini (1838), a crushing fiasco. At year's end, the dying Paganini made Berlioz a gift of 20,000 francs, enabling him to devote nearly a year to the composition of his "dramatic symphony," Roméo et Juliette (1839). And then, to commemorate the 10th anniversary of the July Revolution, came the Symphonie funèbre et triomphale (1840).
Iridescently scored, an exquisite collection of six Gautier settings, Les nuits d'été, opened the new decade. This was a difficult time for Berlioz, as his marriage failed to bring him the happiness he desired. Concert tours to Brussels, many German cities, Vienna, Pesth, Prague, and London occupied him through most of the 1840s. He composed La Damnation de Faust, en route, offering the new work to a half-empty house in Paris, December 6, 1846. Expenses were catastrophic, and only a successful concert tour to St. Petersburg saved him.
He sat out the revolutionary upheavals of 1848 in London, returning to Paris in July. The massive Te Deum -- a "little brother" to the Requiem -- was largely composed over 1849, though it would not be heard until 1855. L'Enfance du Christ, scored an immediate and enduring success from its first performance on December 10, 1854. Elected to the Institut de France in 1855, he started receiving a members' stipend, and this provided him with a modicum of financial security. Consequently, Berlioz was able to devote himself to the summa of his career, his vast opera , Les Troyens, based on Virgil's -Aeneid, the Roman poet's unfinished epic masterpiece. The opera was completed in 1858. As he negotiated for its performance, he composed a comique adaptation of Shakespeare's Much Ado About Nothing, which met with a rapturous Baden première, on August 9, 1862. Unfortunately, only the third, fourth, and fifth acts of Les Troyens were mounted by the Théatre-Lyrique, a successful premiere, on November 4, 1863, and a run of 21 performances notwithstanding. This lopsided production stemmed from a compromise (bitterly regretted by the composer) that Berlioz had made with the Théâtre-Lyrique.
Though frail and ailing, Berlioz conducted his works in Vienna and Cologne in 1866, traveling to St. Petersburg and Moscow in the winter of 1867-1868. Despondent and tortured by self-doubt, the composer received a triumphant welcome in Russia. Back in Paris in March 1868, he was but a walking shadow as paralysis slowly overcame him. ~ Adrian Corleonis, All Music Guide
Returning from Rome, Berlioz organized a concert in 1832, featuring his symphony. Harriet Smithson was in the audience. They were introduced days later and married on October 3, 1833.
Berlioz settled into a career pattern which he maintained for more than a decade, writing reviews, organizing concerts, and composing a series of visionary masterpieces: Harold en Italie (1834), the monumental Requiem (1837), and an opera , Benvenuto Cellini (1838), a crushing fiasco. At year's end, the dying Paganini made Berlioz a gift of 20,000 francs, enabling him to devote nearly a year to the composition of his "dramatic symphony," Roméo et Juliette (1839). And then, to commemorate the 10th anniversary of the July Revolution, came the Symphonie funèbre et triomphale (1840).
Iridescently scored, an exquisite collection of six Gautier settings, Les nuits d'été, opened the new decade. This was a difficult time for Berlioz, as his marriage failed to bring him the happiness he desired. Concert tours to Brussels, many German cities, Vienna, Pesth, Prague, and London occupied him through most of the 1840s. He composed La Damnation de Faust, en route, offering the new work to a half-empty house in Paris, December 6, 1846. Expenses were catastrophic, and only a successful concert tour to St. Petersburg saved him.
He sat out the revolutionary upheavals of 1848 in London, returning to Paris in July. The massive Te Deum -- a "little brother" to the Requiem -- was largely composed over 1849, though it would not be heard until 1855. L'Enfance du Christ, scored an immediate and enduring success from its first performance on December 10, 1854. Elected to the Institut de France in 1855, he started receiving a members' stipend, and this provided him with a modicum of financial security. Consequently, Berlioz was able to devote himself to the summa of his career, his vast opera , Les Troyens, based on Virgil's -Aeneid, the Roman poet's unfinished epic masterpiece. The opera was completed in 1858. As he negotiated for its performance, he composed a comique adaptation of Shakespeare's Much Ado About Nothing, which met with a rapturous Baden première, on August 9, 1862. Unfortunately, only the third, fourth, and fifth acts of Les Troyens were mounted by the Théatre-Lyrique, a successful premiere, on November 4, 1863, and a run of 21 performances notwithstanding. This lopsided production stemmed from a compromise (bitterly regretted by the composer) that Berlioz had made with the Théâtre-Lyrique.
Though frail and ailing, Berlioz conducted his works in Vienna and Cologne in 1866, traveling to St. Petersburg and Moscow in the winter of 1867-1868. Despondent and tortured by self-doubt, the composer received a triumphant welcome in Russia. Back in Paris in March 1868, he was but a walking shadow as paralysis slowly overcame him. ~ Adrian Corleonis, All Music Guide