The author of symphonie fantastique

Berlioz (1803— 1869), French composer; 180365438+February 1 1 was born in a family of doctors in Lacort-San Andreas (La C & ampocircTe-St.André).

/kloc-began to receive music education at the age of 0/3, learning guitar, flute and singing. 182 1 year, he entered the Paris medical college at the request of his father. Because he loved music, he gave up medical school a year later, with Jean-Fran &; CcedilOis le Sueur) studied with others, so his family cut off his financial support.

From 65438 to 0827, he made a living as a chorus member in a song and dance theater. In the same year, I participated in the Rome Composition Competition. Although he didn't win the lottery, his father resumed his relationship with him. 1828 studied in Britain and wrote some music reviews for magazines. 1830 won the Rome Prize, and his symphony Fantasia was successfully performed, which was appreciated by Liszt. As a reward, he went to study in Italy and 1832 returned to Paris. Soon after his "King Lear" was staged in Paris, it was highly praised by Paganini, and they became good friends. Berlioz was invited to write Harold in Italy for him.

184 1 year later, he went to Germany (1841-kloc-0/843), Russia (1846- 1847) and Britain (1847). Berlioz died in Paris on March 8th, 869.

Berlioz is a unique composer, and his unique personality makes him appear isolated in his own country, his own era and the whole art history. His music is not as implicit as Beethoven and Wagner, but has an objective extroversion. All the characters he created exist independently of him, while other composers tend to integrate the whole universe into their inner lives. So he is essentially a Latin artist. At the same time, he has no special talent for harmony and polyphony, and he has not contributed to the creation of romantic language like Schumann, Chopin or Liszt. He often uses the language of Gluck or Beethoven. However, his extraordinary talent in tone harmony and accurate use of melody to express his feelings can't be imitated by any musician.

Although Berlioz was not proficient in a certain musical instrument or even played the piano, his Theory of Instrumental Music was a very important work, which became the standard textbook at that time in his later years. 1803 was born in Lacort-Saint-André, Grenoble. He studied flute and clarinet in his early years, then guitar, but never piano.

182 1 year, he went to Paris to attend medical school according to his father's order.

1822 applied to learn music and began to write operas;

1823 became a private school student of Lexur, and then he created a cantata.

1826 entered the Paris Conservatory of Music, and studied under Reha and Le Sauer.

1827 watched Hamlet at the kemble Theatre in England. Then generate showed crazy love for the Irish actress Harriet Smithson who played O 'filia in the play.

Symphony fantastique, composed in 1830, subtitled "An episode in the artist's career", describes his love for Miss Smithsonian autobiographically. This symphony was performed at 65438+ on February 5th of the same year.

1832 12 He finally met Miss Smithsonian and married her after 10 months. In the next few years, he wrote some of the greatest works, including Harold in Italy, Funeral and Triumph, Drama Symphony Romeo and Juliet and Mass in Memory of the Dead.

After his marriage broke up at 184 1, he moved in with the singer Mary recio. In the following years, he traveled frequently and went to Russia, Britain and Italy.

1856, he began to write the opera Trojans.

This opera was completed in 1858 and is Berlioz's masterpiece. Due to its huge scale, all kinds of efforts to perform in the theater have not been realized.

1860- 1862 completed his last opera "Beatrice and Benedict" and never wrote again;

Berlioz died in Paris on 1869. Creation of title symphony

In Berlioz's musical heritage, symphony is the first. He wrote four symphonies and many other orchestral works. Theoretically, his orchestral orchestration method is very influential. In his works, he directly inherited the tradition of Beethoven's symphony, and at the same time showed his bold innovation. He created his own new symphony, that is, he added titles to the beginning of the symphony and every movement (sometimes the titles were written in detail), which made music and literature closer, and tried to express the vivid and concrete images described in literature with musical language, making the expressive force of instrumental music more concrete and profound. This is often referred to as the "headline symphony".

Emphasize the symbolic content of music.

Berlioz distinguished the title symphony from the classical symphony and emphasized the standard content of music. He believes that the title of the song is the requirement of democracy and can make music universally understood. For him, there is no music without content and title. Therefore, he fought against narrow and vulgar artistic views with progressive artistic concepts, profoundly reflected the complex and contradictory mental outlook of French radical petty bourgeoisie intellectuals at that time with novel artistic forms, and showed their "rebellious spirit". He boldly expanded the band equipment, so that the symphony gained new timbre and band effect, and took a new path in melody and harmony. All this had a very important influence on the later European music culture. Berlioz had a far-reaching influence on romantic music, and his symphony Fantasia pointed out the creative path of romantic title music, which can be said to be a model of later title symphonies and symphonic poems.

Creative style and influence

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Berlioz likes to draw inspiration from literary masterpieces, which also accords with and influences musicians' preference for material selection at that time. His orchestral overture King Lear, dramatic symphony Romeo and Juliet, comedy opera Beatrice and Benedict are adapted from Shakespeare's plays, and the drama Chorus's Robbery and Punishment of Faust is inspired by Goethe, orchestral overture Pirates, viola and band works. Berlioz wrote a classic work, The Method of Orchestration, which is called the first and most important monograph of this art; In addition to his achievements in music creation, Berlioz also wrote essays and music reviews, which were widely praised. As he said in his autobiography, he wrote an autobiography, which is as tortuous and wonderful as a novel. However, although his experience is really rich, he often exaggerates when writing his autobiography.