Berlioz’s famous piece. Popular classical music.
Louis-Hector Berlioz, a master of Romanticism whose portrait once appeared on the French 10-franc note.
Among the works Berlioz created—led by the Symphonie fantastique—are many pieces inspired by literary masterpieces.
He was also a composer who anticipated the direction of Romantic music through large-scale expansions of instrumentation and a richly colorful orchestral technique.
This time, I’ve listed the works that became the starting point of Berlioz’s artistry, dividing them by movement.
I hope you’ll give them a listen.
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Berlioz’s masterpieces: Popular classical music (11–20)
From the Requiem, No. 6: Day of TearsLouis Hector Berlioz
This masterpiece depicts the day that comes with tears, when people rise from the ashes.
It stands out even within Hector Berlioz’s Requiem, imbued with mourning for the dead and prayers for God’s mercy.
Its hallmarks are the majestic sonority of its large-scale forces and the superb harmony between chorus and orchestra.
At its 1838 premiere, more than 400 performers took part, deeply moving the audience.
Embracing the hearts of those who confront death and seek hope, this work is recommended for anyone reflecting on the meaning of life.
Symphonie Fantastique, Movement VLouis Hector Berlioz
It’s “Dream of a Witches’ Sabbath,” the fifth movement from Symphonie fantastique, Op.
14.
This is the final movement of the work, and in it the Gregorian chant Dies irae is used as a principal theme.
The character of the music is, as the title suggests, heavily fantastical, depicting the ghosts gathering for the funeral of the protagonist—the “young musician of morbid sensitivity and fiery imagination” who dies in the fourth movement.
This movement is also famous for its use of the col legno technique near the end, where the players strike the strings with the wooden part of the bow.
It’s one of the representative works that feature col legno.
To know what it sounds like, give it a listen!
Symphonie fantastique, Fourth MovementLouis Hector Berlioz
“From Symphonie fantastique, Op.
14, Movement IV: March to the Scaffold (Marche au supplice).” This piece is a symphony representative of Hector Berlioz, and this is its fourth movement.
The premiere took place in 1830 under the baton of Berlioz’s friend François-Antoine Habeneck.
According to the 1845 program, it depicts the scene in which, in a dream, he kills his beloved, is sentenced to death, is taken to the scaffold, and the procession of onlookers is portrayed.
This movement was popular from the time of the premiere and was encored and performed a second time.
Symphony “Harold in Italy,” First MovementLouis Hector Berlioz
This work centers on the collaboration between solo viola and orchestra.
The “Harold theme” played by the viola is striking, and the piece unfolds as the viola and orchestra take turns.
Set against the backdrop of the Italian mountains, it vividly conveys the protagonist’s emotions, where melancholy and happiness intersect.
It adopts sonata form, beginning with a gentle introduction and developing into a lively Allegro, with the dialogue between the viola and the orchestra as a highlight.
It’s a recommended piece for those interested in Romantic music or those who want to savor the allure of the viola.
Dreams and CapriccioLouis Hector Berlioz
Known as Hector Berlioz’s only work for solo violin, this piece was originally conceived as part of the opera Benvenuto Cellini, but was later arranged for violin and orchestra.
It features a two-part structure that begins with a lyrical Adagio theme and concludes with a passionate coda.
Published in 1841, it received its premiere in Paris on February 1, 1842.
Throughout, it showcases brilliant passages that fully draw out the violin’s virtuosity, encapsulating the allure of Romantic music.
It is recommended for those interested in violin repertoire or seeking to discover a new facet of Romantic music.
Overture ‘Waverley’, Op. 1Louis Hector Berlioz
Among Hector Berlioz’s works, this piece stands as a foundational one.
Inspired by a novel by Walter Scott, the overture vividly evokes the story’s world through dynamic musical expression.
Marked by bold orchestration and dramatic development, it showcases the brilliance of the young Berlioz.
At its premiere in May 1828, it received mixed reactions, but today it is highly regarded as an important early work by Berlioz.
Recommended for those interested in Romantic-era music or the relationship between literature and music.
From the Grand Symphony of Requiem and Victory, Movement ILouis Hector Berlioz
This is a grand work imbued with requiem-like remembrance and admiration for the heroes of the French Revolution and the Napoleonic Wars.
Composed in three movements, it portrays both sorrow and triumph.
The first movement, a solemn funeral march, begins with a snare drum rhythm and unfolds in a call-and-response with the brass.
In the second movement, a solo for tenor trombone leaves a strong impression.
The final movement adds brilliant fanfares and chorus, becoming a festive celebration of victory.
Strongly reflecting the characteristics of Romantic music, the piece captivates with the powerful expression of its large orchestral forces.
It is recommended for those interested in music from the era of the French Revolution and for anyone who enjoys grand orchestral works.
From Dramatic Symphony ‘Romeo and Juliet’, Part IILouis Hector Berlioz
An innovative symphony that portrays Shakespeare’s tragedy through music.
The second part, scored for orchestra alone, vividly depicts Romeo’s solitude and the Capulets’ feast.
Hector Berlioz completed the work in 1839, pursuing musical expression that went beyond conventional operatic methods.
Notably, in the “Love Scene,” he makes a bold attempt to depict the lovers’ feelings using instruments alone, without any singing.
Bringing a fresh breeze to Romantic-era music, this work is recommended for those who want to experience new possibilities in classical music.
From Symphonie fantastique, Movement IIILouis Hector Berlioz
It is “Symphonie fantastique, Op.
14: III.
Scène aux champs (Scene in the Fields).” In this work, Hector Berlioz uses a melody representing the woman with whom he fell in love in various scenes.
The third movement was not highly regarded and was extensively revised in 1831, the year after the premiere.
This movement also contains pastoral elements reminiscent of Part III of Rossini’s William Tell Overture set in the Alps, and its principal theme appears in Berlioz’s own works such as the Mass in C (Messe solennelle), which he had planned to discard, as well as in other pieces—suggesting it was one of his favorite phrases.
From the Requiem, No. 10: Agnus DeiLouis Hector Berlioz
The 10th movement of Louis-Hector Berlioz’s Requiem is a masterpiece of sacred music filled with deep prayer and consolation.
Its lyrics, which implore God’s mercy, are beautifully harmonized with music that is serene and majestic.
Composed in 1837, this movement is characterized by a delicate dialogue between orchestra and chorus that speaks powerfully to the listener’s heart.
Its universal theme—praying for the repose of the souls of the dead—transcends religion and will resonate with many.
It is a highly recommended piece for those seeking comfort or who are interested in grand sacred music.