See also:

• HECTOR

HECTOR See also:

• HECTOR BERLIOZ (1803-1869)

BERLIOZ (1803-1869)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the 11th of See also:

• DECEMBER (Lat. decent, ten)

December 1803 at Cote-See also:

• SAINT (lat. sanctus, " holy ")

Saint-See also:

• ANDRE, JOHN (1751-178o)

Andre, a small See also:

• TOWN

town near See also:

• GRENOBLE

Grenoble, in the See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

department of See also:

• ISERE
• ISERE [anc. Isara]

Isere . His See also:

• FATHER

father, See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis See also:

• BERLIOZ, HECTOR (1803-1869)

Berlioz, was a physician of repute, and by his See also:

• DESIRE

desire See also:

• HECTOR

Hector for some See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time devoted himself to the study of See also:

• MEDICINE

medicine . At the same time he had See also:

• MUSIC

music lessons, and, in See also:

• SECRET (Lat. secretum, hidden, concealed)

secret, perused numerous theoretical See also:

• WORKS

works on See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint and See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony, with little profit it seems, till the See also:

• HEARING (formed from the verb " to hear," O. Eng. hyran, heron, &c., a common Teutonic verb; cf. Ger. Koren, Dutch hooren, &c.; the O. Tent. form is seen in Goth. hausjan; the initial h makes any connexion with " ear," Lat. audire, or Gr. &Kobew very doub

hearing and subsequent careful See also:

• ANALYSIS (Gr. avci and Meta, to break up into parts)

analysis of one of See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn's quartets opened a new vista to his unguided aspirations . A similar See also:

• WORK

work written by Berlioz in See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of Haydn's masterpiece was favorably received by his See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends . From See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, where he had been sent to See also:

• COMPLETE

complete his medical studies, he at last made known to his father the unalterable decision of devoting himself entirely to See also:

• ART

art, the See also:

• ANSWER (derived from and, against, and the same root as swear)

answer to which See also:

• CONFESSION (Lat. confessio, from confiteor, acknowledge, confess)

confession was the withdrawal of all further pecuniary assistance . In See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to support See also:

• LIFE

life Berlioz had to accept the humble engagement of a See also:

• SINGER, SIMEON (1846-1906)

singer in the See also:

• CHORUS (Gr. xopbs)Z

chorus of the Gymnase See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre . Soon, however, he became reconciled to his father and entered the See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire, where he studied See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition under See also:

• REICHA, ANTON JOSEPH (1770-1836)

Reicha and See also:

• LESUEUR, DANIEL
• LESUEUR, JEAN FRANCOIS (1760 or 1763–1837)

Lesueur . His first important composition was an See also:

• OPERA (Italian for " work ")

opera called See also:

• LES

Les Francs-Juges, of which, however, only the See also:

• OVERTURE (Fr. ouverture, opening)

overture remains extant . In 1825 he See also:

• LEFT

left the Conservatoire, and began a course of self-See also:

• EDUCATION

education, founded chiefly on the works of See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven, See also:

• GLUCK

Gluck, See also:

• WEBER, CARL MARIA FRIEDRICH ERNEST VON (1786–1826)
• WEBER, WILHELM EDUARD (1804-1891)

Weber and other See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German masters . About this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period Berlioz saw for the first time the talented Irish actress Henrietta See also:

• SMITHSON, HENRIETTA CONSTANCE (1800-1854)
• SMITHSON, JAMES (1765-1829)

Smithson, who was then charming Paris by her impersonations of Ophelia, Juliet and other Shakespearean characters . The enthusiastic See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young composer became deeply enamoured of her at first sight, and tried, for a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long time in vain, to gain the love or even the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of his idol . To an incident of this See also:

• WILD, JONATHAN (c. 1682-1725)

wild and persevering courtship Berlioz's first symphonic work, See also:

• EPISODE

Episode de la See also:

• VIE

vie d'un artiste, owes its origin .

By the See also:

• ADVICE (Fr. avis, from Lat. ad, to, and visum, viewed)

advice of his friends Berlioz once more entered the Conservatoire, where, after several unsuccessful attempts, his See also:

• CANTATA (Italian for a song or story set to music)

cantata See also:

• SARDANAPALUS, or SARDANAPALLUS

Sardanapalus gained him the first See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize for See also:

• FOREIGN

foreign travel (1830), in spite of the strong See also:

• PERSONAL

personal antagonism of one of the umpires . During a stay in See also:

• ITALY
• ITALY (Italia)

Italy Berlioz composed an overture to See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King See also:

• LEAR, EDWARD (1812-1888)

Lear, and Le Retour a la vie—a sort of See also:

• SYMPHONY

symphony, with intervening poetical declamation between the single movements, called by the composer a melologue, and written in continuation of the Episode de la vie d'un artiste, along with which work it was performed at the Paris Conservatoire in 1832 . See also:

• PAGANINI, NICOLO (1784-1840)

Paganini on that occasion spoke to Berlioz the memorable words: " See also:

• VOUS

Vous cornmencez See also:

• PAR (Lat. par, equal)

par on les autres ont fini." See also:

• MISS

Miss Smithson, who also was See also:

• PRESENT

present on the occasion, consented to become the wife of her ardent See also:

• LOVER, SAMUEL (1797-1868)

lover in 1833 . The See also:

• MARRIAGE

marriage was a tempestuous See also:

• MISTAKE (i.e. take amiss)

mistake . In 1840 he separated from his wife, who died in 1854 . Six months later Berlioz married Mademoiselle Recio . His second wife did not live very long, nor was there much that was edifying in this marriage . Between the date of his first marriage and 184o came out his dramatic symphonies Harold en Italie, Funebre et triomphale, and Romeo et Juliette; his opera Benvenuto See also:

• CELLINI, BENVENUTO (1500-1571)

Cellini (1837); his See also:

• REQUIEM

Requiem, and other works . In the course of time Berlioz won his due See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share of the distinctions generally awarded to See also:

• ARTISTIC

artistic merit, such as the ribbon of the See also:

• LEGION (Lat. legio)

Legion of See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

Honour and the membership of the See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute . But these distinctions he owed, perhaps, less to a genuine admiration of his compositions than to his successes abroad and his influential position as the musical critic of the See also:

• JOURNAL
• JOURNAL (through Fr. from late Lat. diurnalis, daily)

Journal See also:

• DES

des Debats (a position which he held from 1838 to 1864, and which he never used or abused to push his own works) . In 1842 Berlioz went for the first time to See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, where he was hailed with welcome by the leading musicians of the younger See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation, See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• SCHUMANN, ROBERT ALEXANDER (1810-1856)

Schumann foremost amongst them . The latter paved the way for the French composer's success by a comprehensive analysis of the Episode in his musical journal, the Neue Zeitschrift See also:

• FUR (connected with O. Fr. forre, a sheath or case; so " an outer covering ")

fur Musik .

In 1846 he produced his magnificent cantata La Damnation de See also:

• FAUST, or FAUSTUS

Faust . Berlioz gave successful concerts at See also:

• LEIPZIG

Leipzig and other German cities, and repeated his visit on various later occasions—in 1852 by invitation of See also:

• LISZT, FRANZ (1811-1886)

Liszt, to conduct his opera, Benvenuto Cellini (hissed off the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage in Paris), at See also:

• WEIMAR

Weimar; and in 1855 to produce his See also:

• ORATORIO

oratorio-trilogy, L'Enfance du See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ, in the same See also:

• CITY (through Fr. cite, from Lat. civitas)

city . This latter work had been previously performed at Paris, where Berlioz mystified the critics by pretending to have found the last chorus amongst the See also:

• MANUSCRIPT

manuscript scores of a composer of the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, See also:

• PIERRE

Pierre Ducre by name . In 1855 his Te Deum was written for the opening of the Paris See also:

• EXHIBITION

exhibition . Berlioz also made journeys to See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna (1866) and St See also:

• PETERSBURG

Petersburg (1867), where his works were received with See also:

• GREAT

great See also:

• ENTHUSIASM

enthusiasm . In 1861 he produced his work See also:

• BEATRICE

Beatrice et See also:

• BENEDICT (BENEDICTUS)
• BENEDICT, SIR JULIUS (1804-1885)

Benedict, and in 1863 Les Troyens . He died in Paris on the 8th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1869 . It is not only as a composer that the life of Berlioz is full of See also:

• INTEREST

interest, although in this respect his achievement is singularly significant for the comprehension of the See also:

• MODERN

modern spirit in music . But it is as the See also:

• SYMBOL (Gr. o-uµ(3oXov, a sign)

symbol of French romanticism in the whole domain of aesthetic See also:

• PERCEPTION (from Lat. percipere, to perceive)

perception that his pre-See also:

• EMINENCE (Lat. eminentia)

eminence has come to be recognized . His Memoires (begun in See also:

• LONDON

London in 1848 and finished in 1865) illustrate this romantic spirit at its highest See also:

• ELEVATION

elevation as well as at its lowest depths . See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo was a romantic, See also:

• MUSSET, LOUIS CHARLES ALFRED DE (1810-18S7)

Musset was a romantic, but Berlioz was romanticism itself . As a boy he is in despair over the despair of See also:

• DIDO, or ELISSA

Dido, and his breath is taken away at See also:

• VIRGIL (PUBLIUS VERGILIUS MARC)
• VIRGIL, POLYDORE (c. 1470-1555)

Virgil's " Quaesivit coelo lucem ingemuitque reperta." At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of twelve he is in love with " Estelle," whom he meets fifty years afterwards .

The See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene is described by himself (1865) with See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute fidelity—a scene which See also:

• FLAUBERT, GUSTAVE (1821-1880)

Flaubert must have known by See also:

• HEART
• HEART, LUNG

heart when he wrote its parallel in the novel L'Education sentimentale . The See also:

• ROMANCE

romance of this See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

meeting between the See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man—old, isolated, unspeakably sad, with the See also:

• HALO

halo of public fame burning See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round him—and the woman—old also, a See also:

• MOTHER

mother, a widow, whose beauty he had worshipped when she was eighteen—is striking . In a See also:

• FRAME

frame of chastened See also:

• MELANCHOLY (Gr. µe)tayXotia, from µEtas, black, and Xotii, bile)

melancholy and joy at the sight of Estelle, Berlioz goes to dine with See also:

• PATTI
• PATTI, ADELINA JUAKA MARIA [BARONESS CEDERSTROM] (1843- )

Patti and her See also:

• FAMILY

family . Patti, on the See also:

• THRESHOLD

threshold of her career, pets Berlioz with such uncontrollable See also:

• AFFECTION (Lat. ad, and facere, to do something to, sc. a person)

affection, that as the composer wrote a description of his feelings he was overwhelmed at the bitterness of See also:

• FATE

fate . What would he not have given for Estelle to show him such affection ! Patti seemed to him like a marvellous See also:

• BIRD

bird with See also:

• DIAMOND

diamond wings flitting round his See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head, resting on his See also:

• SHOULDER (in O.E. sculder, cognate with Ger. Schulter, Dutch schouder, Swed. skuldra, &c; the root is unknown)

shoulder, plucking his See also:

• HAIR (a word common to Teutonic languages)

hair and singing her most joyous songs to the See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment of beating wings . " I was enchanted but not moved . The fact is that the young, beautiful, dazzling, famous virtuoso who at the age of twenty-two has already seen musical See also:

• EUROPE

Europe and See also:

• AMERICA

America at her feet, does not win the See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of love in me; and the aged woman, sad, obscure, ignorant of art, possesses my soul as she did in the days gone by, as she will do until my last See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day." If this episode touches the See also:

• SUBLIME (Lat. sublimis, exalted)

sublime, it may be urged with almost equal truth that his description of the See also:

• EXHUMATION (from Med. Lat. exhumare; ex, out of, and humus, ground)

exhumation of his two wives and their reburial in a single See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb touches the ridiculous . And yet the scene is described with a perception of all the detail which would See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call for the highest praise in a novelist . Perhaps some parallel between the splendid and the ridiculous in this singular figure may be seen in the comparison of Nadar's See also:

• CARICATURE (Ital. caricatura, i.e. "ritratto ridicolo," from caricare, to load, to charge; Fr. charge)

caricature with See also:

• CHARPENTIER, FRANCOIS (1620-1702)

Charpentier's portrait of the composer . The profound admiration of Berlioz for See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare, which See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose at moments to such a See also:

• PITCH
• PITCH, MUSICAL

pitch of folly that he set Shakespeare in the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of See also:

• GOD

God and worshipped him, cannot be explained simply on the ground that Henrietta Smithson was a great Shakespearean actress . Unquestionably the great figures in See also:

• ENGLISH

English literature had a profound attraction for him, and while the romantic spirit is obvious in his selections from See also:

• BYRON, GEORGE GORDON BYRON, 6TH BARON (1788-1824)
• BYRON, HENRY JAMES (1834-1884)
• BYRON, HON
• BYRON, JOHN BYRON

Byron and See also:

• SCOTT, ALEXANDER (fl. 1550)
• SCOTT, DAVID (18o6-1849)
• SCOTT, MICHAEL (1789-1835)
• SCOTT, ROBERT (1811-1887)
• SCOTT, SIR GEORGE GILBERT (1811-1878)
• SCOTT, SIR WALTER, BART
• SCOTT, WILLIAM BELL (1811-1890)
• SCOTT, WINFIELD (1786-1866)

Scott, it can also be traced in the quality of his enthusiasm for Shakespeare .

It is in his music more than in his See also:

• LITERARY

literary attitude, however, that is disclosed something in addition to the pure romance of Schumann . —something that places him nearer in See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind to See also:

• WAGNER, ADOLF (1835- )
• WAGNER, RUDOLPH (1805-1864)
• WAGNER, WILHELM RICHARD (1813-1883)

Wagner, who recognized in him a composer from whose works he might learn something useful for the cultivation of his own ideals . As a youth the power of Beethoven's symphonies made a deep impression on Berlioz, and what has been described as the " poetical See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea " in Beethoven's creations ran See also:

• RIOT (0. Fr. riote, of uncertain etymology)

riot in the young medical student's mind . He thus became one of the most ardent and enlightened originators of what is now known as " See also:

• PROGRAMME, or PROGRAM

programme music." Technically he was a brilliant musical colourist, often extravagant, but with the extravagant emotional-ism of See also:

• GENIUS (from Lat. genere, gignere)

genius . He was a See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra; indeed, his treatment of the orchestra and his invention of unprecedented effects of timbre give him a solitary position in musical See also:

• HISTORY

history; he had an extraordinary See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift for the use of the various See also:

• INSTRUMENTS

instruments, and himself propounded a new ideal for the force to be employed, on an enormous See also:

• SCALE
• SCALE (1) A

scale . His literary works include the Traite d'See also:

• INSTRUMENTATION

instrumentation (1844); Voyage musical en Allemagne et en Italie (1845); Les Soirees d'orchestre (1853) ; Les Grotesques de la musique (1859) A travers See also:

• CHANT (derived through the Fr. from the Lat. cantare, to sing; an old form is " chaunt ")

chant (1862); Memoires (187o) ; Lettres intimes (1882), . For a full See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of his musical works, See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

Grove's See also:

• DICTIONARY

Dictionary should be consulted . The new See also:

• CRITICAL (in alphabetical order of authors)

critical edition of the complete musical works (published by Breitkopf and Hartel) is in ten See also:

• SERIES (a Latin word from serere, to join)

series . I . Symphonies: Fantastique, Op . 14; Funebre et triomphale, Op . 15, for military See also:

• BAND

band and chorus; Harold en Italie, Op .

16, with See also:

• VIOLA [Fr. viole, Ger. Bratsche, Ital. viola, alto]

viola See also:

• SOLO, OR SOLO WHIST

solo; Romeo et Juliette, with chorus and See also:

• SOLI
• SOLI (mod. Mezetlii)

soli . II . Overtures (ten, including the five belonging to larger works) . III . Smaller instrumental works, of which only the Funeral March for See also:

• HAMLET

Hamlet is important . IV . Sacred music: the Grande Messe des moms, Op . 5; the Te Deum, Op . 22; L'Enfance du Christ, Op . 25, and four smaller pieces . V . See also:

• SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

Secular cantatas, including Hui' scenes de Faust, Op .

1; Lelio, ou le retour a la vie, Op . 146 (sequel to Symphonie fantastique), and La Damnation de Faust, Op . 24 . VI . Songs and lyric choruses with orchestra, two vols . VII . Songs and lyric choruses with See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte, 2 vols. including arrangements of the orchestral songs . VIII . Operas: Benvenuto Cellini; Les Troyens (five acts in two parts, La Prise de Troie and Les Troyens a See also:

• CARTHAGE
• CARTHAGE (Phoenician Kart-hadshat, " New City "; Gr. Kapxn5c; v, Lat. Carthago or Carchedon)
• CARTHAGE, SYNODS OF

Carthage) ; Recitatives for the See also:

• DIALOGUE

dialogue in Weber's Freischi tz . IX . Arrangements, including the well-known orchestral version of Weber's Invitation a la See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

dance . X .

Fragments and new discoveries . Adolphe See also:

• JULIEN, STANISLAS (1797?-1873)

Julien's See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography of Berlioz (1888) first gave a careful See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the details of his life . See also the books by R . Pohl (1884), P . Galibert (1890), E . Hippeau (189o), G . Noufflard (1885), L . Nlesnard (1888), See also:

• LOUISE [AUGUSTE WILHELMINE AMALIE LUISE] (1776-1810)

Louise Pohl (1900), and D . See also:

• BERNARD, CHARLES DE
• BERNARD, CLAUDE (1813-1878)
• BERNARD, JACQUES (1658--1718)
• BERNARD, MOUNTAGUE (1S2o—1882)
• BERNARD, SAINT
• BERNARD, SAINT (Iogo-1153)
• BERNARD, SIMON (1779—1839)
• BERNARD, SIR THOMAS, BART

Bernard (trans. by H . M . See also:

• DUNSTAN, SAINT (924 or 925-g88)

Dunstan, 1882) . An See also:

• ILLUMINATING

illuminating See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay on Berlioz is in Filson Young's Mastersingers (1902) .

See also the essay in W . H . Hadow's Studies in Modern Music (1st series, 1908) . Berlioz's Traite d'instrumentation has been translated into German and brought up to date by See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard See also:

• STRAUSS, DAVID FRIEDRICH (1808-1874)
• STRAUSS, JOHANN (1804-1849)
• STRAUSS, RICHARD (1864– )

Strauss (See also:

• PETERS (or PETER), HUGH (1598–166o)
• PETERS, KARL (1856– )

Peters' edition [1906]) .