A tribute to love, Shakespeare and the symphonic form, a symphony of Berlioz should be recognized as a triumph of the drama, the formal coherence and lyrical beauty
At a time when the music of Hector Berlioz is played more often than ever before, when the performances of the Symphonie Fantastique, Les Nuits d'été, La Damnation de Faust, and even became Requiem events almost commonplace, and his magnum opus The Trojans finally been recognized as Donald Tovey called "one of the most gigantic and convincing music drama", it is rare that a work so beautiful and full events such as the dramatic symphony Romeo and Juliet would still need a special promotion.
For Berlioz, a work which was particularly appreciated. It was an act of homage to his staff and Juliet to his two great mentors, Shakespeare and Beethoven.
Arriving in Paris in the provinces in 1821, a young inexperienced, but hyper-imaginative 17 year old who had never heard of a band, had permeated the opera and sacred music of the French classical school. The discovery of Beethoven's symphonies six years later, arriving shortly after that of Shakespeare, his world upside creative. Apart from these two revelations come a decade later, the Symphonic Orchestra of Romeo and Juliet.
Berlioz was right to comment on the story that appeared in the Illustrated London News in 1848, when he was conducting the opera at Drury Lane that the output of the Odeon in Paris in 1827 after seeing Charles Kemble and Harriet Smithson in Romeo and Juliet, said: "I will marry this woman and write my greatest symphony orchestra at work." Although it was to do both, which was (he wrote) "too busy to even dream about these things."
In particular, the symphony was the last thing had happened to this disciple of Gluck and Spontini as an appropriate response to the drama of Shakespeare. Only under the influence of Beethoven's Eroica and the Department of Pastoral and fifth in the concert of the Conservatory of possibilities of the symphony was revealed: the symphony as a means spectacular all so vivid and so noble that the opera and symphony orchestra as a vehicle of infinite subtlety and expressive power. Music, said, "has wings too wide to disseminate fully in the walls of a theater." Since then, his aspirations turned into a new direction, to work in concert spectacular: first, the Symphonie fantastique (1830) and Harold in Italy (1834), and finally, 12 years after the Epiphany at the Odeon Juliet, and Romeo.
Wagner was the first performance, in the hall of the Conservatoire, November 24, 1839. He never forgot the impression made upon him. The score of Tristan, who presented 20 years later, Berlioz, is inscribed: "To the dear and author of Romeo and Juliet, the author thanks Tristan and Isolde."
In this case, the future belonged to Wagner, Berlioz. Until recently, commentators generally agree with Wagner's music Romeo and Juliet may be remarkable, but the play is bad and not working.
Donald Tovey
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