hector berlioz december 11, 1803 ~ march 8, 1869

Hector BerliozHector Berlioz

December 11, 1803 ~ March 8, 1869

Biography, childhoodBiography, childhood

Born in Born in La Côte-St-André, Isère to La Côte-St-André, Isère to liberal, intellectual father and Catholic liberal, intellectual father and Catholic mothermother

At age 10, attended seminary for short At age 10, attended seminary for short time; father educated thereaftertime; father educated thereafter

Learned guitar and fluteLearned guitar and flute First compostions written in teenage First compostions written in teenage

years as guitar accompaniments for years as guitar accompaniments for operas and for his childhood crushoperas and for his childhood crush

Biography, young Biography, young adulthoodadulthood

November 1921-Went to Paris for November 1921-Went to Paris for medical schoolmedical school

Spent all his time at the operaSpent all his time at the opera 1823-Gave up medical school1823-Gave up medical school 1824-1824-Messe Messe solennellesolennelle composed for composed for

the church of St. Rochthe church of St. Roch 1830-1830-Symphonie fantastiqueSymphonie fantastique

Bibliography, adulthoodBibliography, adulthood

Avid journalist, employer (Bertin Avid journalist, employer (Bertin family) enabled his composition and family) enabled his composition and left us with his memoirsleft us with his memoirs

1834-1837 1834-1837 Benevento CelliniBenevento Cellini 1837 Composed 1837 Composed Messe des Morts Messe des Morts

(Requiem) while awaiting (Requiem) while awaiting CelliniCellini’s ’s 1838 production1838 production

WorksWorks Composed six operas, four symphonies, Composed six operas, four symphonies,

seven major orchestral works, and 30+ seven major orchestral works, and 30+ choir works, among otherschoir works, among others

Work was not fully appreciated in its timeWork was not fully appreciated in its time Was more successful directing others’ Was more successful directing others’

operasoperas Some pieces too difficult in musicianship Some pieces too difficult in musicianship

and staging for his timeand staging for his time Known in his time as a greater conductor Known in his time as a greater conductor

than composerthan composer

RomanticismRomanticism

Focus on the individual (reveal the Focus on the individual (reveal the world to others through one’s self)world to others through one’s self)

Genius of the ArtistGenius of the Artist Personal statementPersonal statement Great emotion (evident in Berlioz as Great emotion (evident in Berlioz as

a child)a child) Berlioz as “Embodiment of Berlioz as “Embodiment of

Romanticism”Romanticism”

Messe des Morts (1837)Messe des Morts (1837)Poietical AnalysisPoietical Analysis

Comissioned by Adrien de Gasparin, Comissioned by Adrien de Gasparin, Minister of the Interior of FranceMinister of the Interior of France

Memorialization of the seventh Memorialization of the seventh anniversary of the 1830 July Revolution anniversary of the 1830 July Revolution and the 18 soldiers assassinated in 1835and the 18 soldiers assassinated in 1835

First performance on December 5, 1837First performance on December 5, 1837

Agnus DeiAgnus Dei

Characterized by long, held chords Characterized by long, held chords by woodwinds and stringsby woodwinds and strings

Incorporates melodies from previous Incorporates melodies from previous movements in the Massmovements in the Mass

Includes extended text, like chant Includes extended text, like chant prosulaprosula

Agnus Dei, qui tollis Agnus Dei, qui tollis peccata mundi, dona eis peccata mundi, dona eis requiem sempiternam.requiem sempiternam.

Te decet hymnus, Deus, in Te decet hymnus, Deus, in Sion, et tibi reddetur Sion, et tibi reddetur votum in Jerusalem.votum in Jerusalem.

Exaudi orationem meam, Exaudi orationem meam, ad te omnis caro veniet.ad te omnis caro veniet.

Requiem aeternamRequiem aeternam

Dona defunctis, Domine, Dona defunctis, Domine, et lux, perpetua luceat et lux, perpetua luceat eis, cum sanctis tuis in eis, cum sanctis tuis in aeternam, Domine, quia aeternam, Domine, quia pius es. pius es.

Amen.Amen.

Lamb of God, who takest Lamb of God, who takest away the sins of the world, away the sins of the world, grant them everlasting grant them everlasting rest. rest.

Thou, O God, art praised in Thou, O God, art praised in Sion and unto Thee shall Sion and unto Thee shall the vow be performed in the vow be performed in Jerusalem. Jerusalem.

Hear my prayer, unto Thee Hear my prayer, unto Thee shall all flesh come. shall all flesh come.

Grant the dead eternal rest, Grant the dead eternal rest, O Lord, and may perpetual O Lord, and may perpetual light shine on them, with light shine on them, with They saints for ever. Lord, They saints for ever. Lord, because Thou art merciful.because Thou art merciful.

Amen.Amen.

114a

For all purposes, the Agnus Dei ends here.

116b

Highest pitch

Messe des MortsMesse des MortsEsthesical AnalysisEsthesical Analysis

Well received by audiences, Berlioz Well received by audiences, Berlioz describes the emotional attacks describes the emotional attacks some experienced at the piecesome experienced at the piece

Mass hailed for organizationMass hailed for organization Music, not words meant to emoteMusic, not words meant to emote Composed with contemporary Composed with contemporary

romantic style, though evidence of romantic style, though evidence of classical style as wellclassical style as well

BibliographyBibliography Cairns, David. Cairns, David. Berlioz RequiemBerlioz Requiem. London Symphony Orchestra & . London Symphony Orchestra &

Chorus. 1986.Chorus. 1986. Cone, Edward T. “Berlioz’s Divine Comedy: The Cone, Edward T. “Berlioz’s Divine Comedy: The Grande Messe Grande Messe

des mortsdes morts.” .” 1919thth Century Music Century Music 4 (Summer 1980): 3-16. 4 (Summer 1980): 3-16. Di Grazia, Donna M. “Volcanic Eruptions: Berlioz and His Di Grazia, Donna M. “Volcanic Eruptions: Berlioz and His

Grande Messe des Grande Messe des mortsmorts.” 43 .” 43 Choral JournalChoral Journal (November (November 2002): 27-552002): 27-55

Kean, Ronald. “Medievalism in Hector Berlioz’s Kean, Ronald. “Medievalism in Hector Berlioz’s Grande Messe Grande Messe des mortesdes mortes.” 43.” 43 Choral Journal (December 2002): 7-24. Choral Journal (December 2002): 7-24.

MacDonald, Hugh. “Berlioz, Hector.” MacDonald, Hugh. “Berlioz, Hector.” Grove Music OnlineGrove Music Online ed. L. ed. L. Macy Macy (Accessed 18 April 2006), (Accessed 18 April 2006), http://http://www.grovemusic.comwww.grovemusic.com..

““Grande Messe des morts.” Wikipedia, The Free Enyclopedia, Grande Messe des morts.” Wikipedia, The Free Enyclopedia, http://http://en.wikipedia.orgen.wikipedia.org

hector berlioz december 11, 1803 ~ march 8, 1869

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