Hector Berlioz (1803-1869), considered the father of modern orchestration, possessed an intuitive musical genius all the more remarkable for his limited formal musieal education. A brilliant colorist, a master of the unexpected rhythmic break, he brought a new symphonie richness to Romantic tousle.
Both danmed and venerated by his eontemporaries-Mendelssohn considered him devoid of talent, Paganini declared him the one true heir to the spirit of Beethoven-Berlioz seems to have sought in music a way to soothe and give voice to the turbulent psychological instabilities and contradictions which more than
once brought him to despair. He pioneered in the development of what has eome to be ealled "program musie"-i.e., instrumental music with an extranmsieal signifieanee. He strove to communicate musically the experiences, psychological themes, scenic descriptions and literary allusions more commonly associated with the confessional writings of Romantic poets.
This newest addition to Dover's critically praised musie-seore series presents two of the greatest of these "program" pieces: the Symphonic Fantastique (1830) and IIarold in Italy (1834). Here are the full scores of both major symphonic works-painstakingly reproduced from the authoritative Breitkopf & H~rtel edition, available for the first time in one convenient volume- plus Berlioz's "program" for the Symphonic Fantastique. |
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