So, Mr. Berlioz, could tell me about the place and era in which you lived?
Well, in and around the era in which I was born, France was experiencing a fair amount of turmoil. This was due to the Revolution and the subsequent rule of Napoleon. As a young boy, it was not uncommon to hear about Napoleon Bonaparte's various victories in battle. After a time, these tales of victory seemed everlasting, until June 18, 1815 it seemed that all France could talk about; in salons, bars, homes, and more; was that Napoleon had been defeated at Waterloo. Now, as a child, I did not understand this fully, but I did know that this could affect my life. I remember my parents' concern over who would rule our country, but I was blissfully oblivious to the situation's weight. Throughout my life, France experienced trouble, which has lasted until the present day, albeit for far different reasons throughout the years.
I was born in La Côte-Saint-André, Isère, France, which is a rather small commune in southeast France. I grew up here until my father sent me to study medicine in Paris at the age of 18. As I had no intention of studying medicine, I furthered my work with music, giving music lessons and taking various jobs (all music-related) to support myself.
What happened when you were younger that sparked your interest in music?
At the age of 12, I received my first communion, upon which I was admitted into the chapel. Little did I know that this experience would open my eyes to the glorious world of music. It was a beautiful spring day, sunny, and with just a gentle breeze in the air, I found the entire experience to be rather emotional. "But I received a rude shock when the priest, with that partiality and lack of courtesy which some men retain for their own sex even at the foot of the altar, invited me to come forward ahead of these charming young girls, who, I felt, should have preceded me. I came forward none the less, blushing at this undeserved honour. And then, at the moment when I was receiving the sacrament, a chorus of maiden’s voices intoned the eucharistic hymn. This filled me with a mystical and passionate emotion which I was unable to conceal from the eyes of the bystanders. I felt as though heaven was opening up before me, a heaven of love and chaste ecstasy, purer and a thousand times more beautiful than what I had so often been told about. Such is the marvellous power of true expression, the incomparable beauty of a melody that springs from the heart!" (Hector Berlioz, Memoirs, Chapter 1)
Many years later, my ears were graced with this particular melody again. This moment is what sparked my love of music. In the coming years, I learned to play the flageolet, the flute, and the guitar. I am confident that if I had not had this experience, I would not have been nearly as interested in music.
What role did your mentors (or parents) play in the development of your musical interests and talents?
My father, while he had insisted upon conducting my education himself, tried to do more to develop my interest in the academic fields. Yes, he taught me music, but in the end he really wanted me to pursue a career in medicine. I was not interested in the topic, and firmly believe that his efforts were all in vain. I was not required to do much work, but that which I did do was excruciatingly painful for my mind. I was not truly interested in the "classes" I had to take, and memorizing a few lines of Virgil and Horace was especially grueling work.
At the age of 12, my father taught me how to play the flageolet, and I tried my hand at composition. When I was 14, I was taught how to play the flute, and began taking music lessons, but most of what I learned, I taught myself. At 16, I burned these pieces, but they did influence my later works. So, while my father did have some influence on my music, he did not teach me as much as I sometimes wish he had.
What was the world of art like in the music field when you entered it?
I entered the world of music just a few years after Beethoven had died, so when I became successful, many wondered how someone so good (I only repeat what was said) could arrive so close after such a great man had died. I was flattered and inspired simultaneously. When I entered the world of music, it seemed as though it was still mourning for Beethoven. I saw many other composers all in the same proverbial boat as me - just beginning their musical careers. There was a big change happening when I entered the world The music world was busily transitioning to the Romantic era, and I was swept up in that tidal wave.
The many revolutions of France had transferred themselves into the world of music, and took music in a completely new direction from the Classical era. It had created a new genre - Romantic. Many new compositions were coming to the public, and were each contributing to the development of the Romantic period.
How did the culture, economy, and politics of the time affect your work?
Well, the everything was up and down, due to the constant revolutions, and the culture was included in that. I was often short on money, and was struggling to make ends meet. There were many people in the same position as me. The economy was deeply divided into approximately three classes, I was near the bottom of the middle class. War did not help, as expenses had to be paid, always though taxes. The lack of money forced me to juggle many jobs at the same time, leaving me not much time for composing music. The culture was changing, and it caused music to continue the same transition I talked about earlier.
Society was dividing itself into political groups as time passed and the government evolved from an absolute monarchy. Many groups became dominant in government, the most popular being conservatives and liberals. I was among the many liberals. The many issues of society were often fought at by the two groups, and bitterly.
What would you say your major accomplishments were and what was your method in composing?
I would consider my Symphonie fantastique to be my greatest achievement. While there were many pieces I composed, I find this one to be the greatest of all. It reflects the wide gamut of emotions felt in love. It is so complex, it seems to almost be its own entity. The piece itself is a beautiful creation, and I think it reflects what I was feeling at the time it was written, sometimes better than any other piece I composed.
As to how I composed, I always followed this rule: music should always be dramatically expressive. This is how I wrote everything. Yes, it reflected how I felt, but in many ways went above and beyond my emotions. It was a bit like viewing something under a microscope, I knew what my emotions were, and the music magnified how I felt. This is, in many ways, how I coped with and expressed my emotions.
What were the big opportunities you had that led you to turning points in your life and music?
I think that one of the biggest opportunities in my music was (unintentionally) my father sending me to Paris. In and of itself, that was a gift. I remember right when I first got to Paris, one of the first things that I did was to go to the Opera. From then on, I was captivated by music, and what it could do. In my opinion, this is what really started me on my path.
I think one of the great turning points in my life, my personal life, was when I first saw Harriet Smithson. The moment I saw her, I was infatuated. This passion is what sparked my great Symphonie fantastique. My every moment was spent thinking about her, and how to express this (often in music). While our subsequent marriage was atrocious, this was the time in which I adored her, and in which she was my everything.
What adversities did you face and have to overcome to become a musician?
One of the most prominent adversities was trying to make ends meet when times were tough. When I first started my career as a musician, my family was not at all supportive, and my father refused to support me monetarily in my efforts. This meant that often I had to take one at least two jobs at the same time. I also knew that I had to find a way to fit music into this extraordinary schedule of mine.
Due to the fact that I cannot play piano, I was denied by some venues when I went on tours. However, I made up for this, somewhat, in conducting. I always had mixed feeling about not playing the piano. On one hand, I was unhampered by the dreadful fingering entanglements which would have put my work to a screeching halt. However, I did not have the tremendous power available to me which the piano possesses.
In this way, my inability was both a gift and a curse.
What personal stories do you have that best illustrate how you became successful?
I think that the most pivotal story that I have that led to my success is the story of my decision to attend the Paris Conservatoire of music. I had previously attended a school of medicine for a year (long enough to earn my first and only degree in science) and had just taken up music lessons with a professor from the Conservatoire. Already, my family was unsupportive, so when I actually took classes there, one can imagine how they felt about it. However, despite their discontent, I succeeded, which seemed to quiet their complaints.
My decision led me to become the wonderful composer I am today. After eight years, my quarrel with my family ended, and I was back in their good graces. Ultimately, the choice is what made me successful. Even though I have had some rough patches, I seem to have not been led astray. I do believe that this particular decision was the deciding factor as to what I did with my life. This was, in my opinion, at the time a very simple decision, yet its weight was immeasurable.
How did your work impact the world of music?
I like to think that I helped to bring in a new era of music. One of the many things that are commonly found as quite extraordinary is how I turned a symphony into a story. I turned from the format of a symphony to something greater, something that would last in peoples minds for centuries. My many compositions seem to be historic, and seem to me to set a standard.
I realize that there have been many historic pieces of music, however, many of those standards have been reached, even surpassed, but it has come to my attention that my standards are neigh impossible to achieve. This is something that I find to be very rewarding. If at some time, there is someone who bests me, I will be amazed, but until that day, I shall be content to amaze.
Sources:
http://www.pbs.org/keepingscore/berlioz-symphonie-fantastique.html
Memoirs, Hector Berlioz, 1865
What happened when you were younger that sparked your interest in music?
At the age of 12, I received my first communion, upon which I was admitted into the chapel. Little did I know that this experience would open my eyes to the glorious world of music. It was a beautiful spring day, sunny, and with just a gentle breeze in the air, I found the entire experience to be rather emotional. "But I received a rude shock when the priest, with that partiality and lack of courtesy which some men retain for their own sex even at the foot of the altar, invited me to come forward ahead of these charming young girls, who, I felt, should have preceded me. I came forward none the less, blushing at this undeserved honour. And then, at the moment when I was receiving the sacrament, a chorus of maiden’s voices intoned the eucharistic hymn. This filled me with a mystical and passionate emotion which I was unable to conceal from the eyes of the bystanders. I felt as though heaven was opening up before me, a heaven of love and chaste ecstasy, purer and a thousand times more beautiful than what I had so often been told about. Such is the marvellous power of true expression, the incomparable beauty of a melody that springs from the heart!" (Hector Berlioz, Memoirs, Chapter 1)
Many years later, my ears were graced with this particular melody again. This moment is what sparked my love of music. In the coming years, I learned to play the flageolet, the flute, and the guitar. I am confident that if I had not had this experience, I would not have been nearly as interested in music.
What role did your mentors (or parents) play in the development of your musical interests and talents?
My father, while he had insisted upon conducting my education himself, tried to do more to develop my interest in the academic fields. Yes, he taught me music, but in the end he really wanted me to pursue a career in medicine. I was not interested in the topic, and firmly believe that his efforts were all in vain. I was not required to do much work, but that which I did do was excruciatingly painful for my mind. I was not truly interested in the "classes" I had to take, and memorizing a few lines of Virgil and Horace was especially grueling work.
At the age of 12, my father taught me how to play the flageolet, and I tried my hand at composition. When I was 14, I was taught how to play the flute, and began taking music lessons, but most of what I learned, I taught myself. At 16, I burned these pieces, but they did influence my later works. So, while my father did have some influence on my music, he did not teach me as much as I sometimes wish he had.
What was the world of art like in the music field when you entered it?
I entered the world of music just a few years after Beethoven had died, so when I became successful, many wondered how someone so good (I only repeat what was said) could arrive so close after such a great man had died. I was flattered and inspired simultaneously. When I entered the world of music, it seemed as though it was still mourning for Beethoven. I saw many other composers all in the same proverbial boat as me - just beginning their musical careers. There was a big change happening when I entered the world The music world was busily transitioning to the Romantic era, and I was swept up in that tidal wave.
The many revolutions of France had transferred themselves into the world of music, and took music in a completely new direction from the Classical era. It had created a new genre - Romantic. Many new compositions were coming to the public, and were each contributing to the development of the Romantic period.
How did the culture, economy, and politics of the time affect your work?
Well, the everything was up and down, due to the constant revolutions, and the culture was included in that. I was often short on money, and was struggling to make ends meet. There were many people in the same position as me. The economy was deeply divided into approximately three classes, I was near the bottom of the middle class. War did not help, as expenses had to be paid, always though taxes. The lack of money forced me to juggle many jobs at the same time, leaving me not much time for composing music. The culture was changing, and it caused music to continue the same transition I talked about earlier.
Society was dividing itself into political groups as time passed and the government evolved from an absolute monarchy. Many groups became dominant in government, the most popular being conservatives and liberals. I was among the many liberals. The many issues of society were often fought at by the two groups, and bitterly.
What would you say your major accomplishments were and what was your method in composing?
I would consider my Symphonie fantastique to be my greatest achievement. While there were many pieces I composed, I find this one to be the greatest of all. It reflects the wide gamut of emotions felt in love. It is so complex, it seems to almost be its own entity. The piece itself is a beautiful creation, and I think it reflects what I was feeling at the time it was written, sometimes better than any other piece I composed.
As to how I composed, I always followed this rule: music should always be dramatically expressive. This is how I wrote everything. Yes, it reflected how I felt, but in many ways went above and beyond my emotions. It was a bit like viewing something under a microscope, I knew what my emotions were, and the music magnified how I felt. This is, in many ways, how I coped with and expressed my emotions.
What were the big opportunities you had that led you to turning points in your life and music?
I think that one of the biggest opportunities in my music was (unintentionally) my father sending me to Paris. In and of itself, that was a gift. I remember right when I first got to Paris, one of the first things that I did was to go to the Opera. From then on, I was captivated by music, and what it could do. In my opinion, this is what really started me on my path.
I think one of the great turning points in my life, my personal life, was when I first saw Harriet Smithson. The moment I saw her, I was infatuated. This passion is what sparked my great Symphonie fantastique. My every moment was spent thinking about her, and how to express this (often in music). While our subsequent marriage was atrocious, this was the time in which I adored her, and in which she was my everything.
What adversities did you face and have to overcome to become a musician?
One of the most prominent adversities was trying to make ends meet when times were tough. When I first started my career as a musician, my family was not at all supportive, and my father refused to support me monetarily in my efforts. This meant that often I had to take one at least two jobs at the same time. I also knew that I had to find a way to fit music into this extraordinary schedule of mine.
Due to the fact that I cannot play piano, I was denied by some venues when I went on tours. However, I made up for this, somewhat, in conducting. I always had mixed feeling about not playing the piano. On one hand, I was unhampered by the dreadful fingering entanglements which would have put my work to a screeching halt. However, I did not have the tremendous power available to me which the piano possesses.
In this way, my inability was both a gift and a curse.
What personal stories do you have that best illustrate how you became successful?
I think that the most pivotal story that I have that led to my success is the story of my decision to attend the Paris Conservatoire of music. I had previously attended a school of medicine for a year (long enough to earn my first and only degree in science) and had just taken up music lessons with a professor from the Conservatoire. Already, my family was unsupportive, so when I actually took classes there, one can imagine how they felt about it. However, despite their discontent, I succeeded, which seemed to quiet their complaints.
My decision led me to become the wonderful composer I am today. After eight years, my quarrel with my family ended, and I was back in their good graces. Ultimately, the choice is what made me successful. Even though I have had some rough patches, I seem to have not been led astray. I do believe that this particular decision was the deciding factor as to what I did with my life. This was, in my opinion, at the time a very simple decision, yet its weight was immeasurable.
How did your work impact the world of music?
I like to think that I helped to bring in a new era of music. One of the many things that are commonly found as quite extraordinary is how I turned a symphony into a story. I turned from the format of a symphony to something greater, something that would last in peoples minds for centuries. My many compositions seem to be historic, and seem to me to set a standard.
I realize that there have been many historic pieces of music, however, many of those standards have been reached, even surpassed, but it has come to my attention that my standards are neigh impossible to achieve. This is something that I find to be very rewarding. If at some time, there is someone who bests me, I will be amazed, but until that day, I shall be content to amaze.
Sources:
http://www.pbs.org/keepingscore/berlioz-symphonie-fantastique.html
Memoirs, Hector Berlioz, 1865
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