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Symphonie fantastique: Épisode de la vie d'un artiste … en cinq parties (Fantastic Symphony: Episode in the Life of an Artist … in Five Sections) Op. 14, is a programmatic symphony written by Hector Berlioz in 1830. The first performance was at the Paris Conservatoire on 5 December 1830.
Berlioz by August Prinzhofer, 1845. Louis-Hector Berlioz [n 1] (11 December 1803 – 8 March 1869) was a French Romantic composer and conductor. His output includes orchestral works such as the Symphonie fantastique and Harold in Italy, choral pieces including the Requiem and L'Enfance du Christ, his three operas Benvenuto Cellini, Les Troyens and Béatrice et Bénédict, and works of hybrid ...
Works such as Vaughan Williams's first three symphonies (A Sea Symphony, A London Symphony and A Pastoral Symphony) fit into more than one camp. These are true titles, as Vaughan Williams commenced the numbering of his symphonies only from his 4th Symphony. The first three symphonies were, however, retrospectively given numbers by cataloguers.
The bass ophicleide first appeared in the banda (stage band) of the opera Olimpie by Gaspare Spontini in 1819. [7] Other famous works which employ it include Felix Mendelssohn 's Elijah and Overture to A Midsummer Night's Dream (originally scored for English bass horn ), as well as Berlioz 's Symphonie Fantastique , which was originally scored ...
Hector Berlioz (1803–1869), French composer of 4 unnumbered, programmatic symphonies: Symphonie fantastique (1830), perhaps the first true programmatic symphony; Harold en Italie (1834), for viola obbligato and orchestra; Roméo et Juliette (1839), a choral symphony with parts for contralto and tenor soloists; and, Grande symphonie funèbre ...
Hector Berlioz's Symphonie fantastique was a musical narration of a hyperbolically emotional love story, the main subject being an actress with whom he was in love at the time. Franz Liszt did provide explicit programs for many of his piano pieces and he was also the inventor of the term symphonic poem.
Program music is a term applied to any musical composition on the classical music tradition in which the piece is designed according to some preconceived narrative, or is designed to evoke a specific idea and atmosphere.
The two first met after a concert of Berlioz's works conducted by Narcisse Girard on 22 December 1833, three years after the premiere of Berlioz's Symphonie fantastique. According to Berlioz' Memoires , Paganini had acquired a "superb viola", a Stradivarius (the so-called "Paganini-Mendelssohn" [ 1 ] ) — "But I have no suitable music.