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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 ...
Many classical compositions belong to a numbered series of works of a similar type by the same composer. For example, Beethoven wrote 9 symphonies, 10 violin sonatas, 32 piano sonatas, 5 piano concertos, 16 string quartets, 7 piano trios and other works, all of which are numbered sequentially within their genres and generally referred to by their sequence numbers, keys and opus numbers.
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 ...
Sometimes a theme may occur at the beginning and end (for example, in Mendelssohn's A minor String Quartet or Brahms's Symphony No. 3); other times a theme occurs in a different guise in every part (e.g. Berlioz's Symphonie fantastique, and Saint-Saëns's "Organ" Symphony).
Roméo et Juliette, symphonie dramatique 1839 24 November 1839 18 80 15 Grande symphonie funèbre et triomphale: 1840 26 July 1840 19 81 7 Les nuits d'été: 1840–41 originally for voice and piano, later orchestrated 15 82 Villanelle: part of Les nuits d’été 83 Le spectre de la rose: part of Les nuits d’été 84 Sur les lagunes, lamento
Much of Mahler's early work was designed programmatically. However, he made serious efforts to downplay the programmatic reputation of many of these pieces later in his life, including removing some of the programmatic titles from his symphonies. Symphony No. 1, Titan, (1888) Symphony No. 2, Resurrection, (1894) Symphony No. 3, (1896)
This was part of Liszt's performing repertoire, but is now lost [11] Symphonie fantastique, Op. 14 (1830) Episode de la vie d'un artiste. Grande Symphonie fantastique. Partition de Piano: c. 1833 S.470 In c. 1864–65 Liszt made a new transcription of the 4th movement, "March au supplice". [10] L'idée fixe. Andante amoroso: S.395