"Romeo and Juliet;" "Beatrice and Benedict;" "Les Troyens," the text from
Virgil's "AEneid;" the symphony, "Harold in Italy;" the symphony, "Funebre
et Triomphe;" the "Damnation of Faust;" a double-chorused "Te Deum;" the
"Symphony Fantastique;" the "Requiem;" and the sacred trilogy, "L'Enfance
du Christ." Berlioz stands among all other composers as the foremost
representative of "programme music," and has left explicit and very
detailed explanations of the meaning of his works, so that the hearer may
listen intelligently by seeing the external objects his music is intended
to picture. In the knowledge of individual instruments and the grouping
of them for effect, in warmth of imagination and brilliancy of color, and
in his daring combinations and fantastic moods, which are sometimes
carried to the very verge of eccentricity, he is a colossus among modern
musicians. He died in Paris, March 8, 1869.

Romeo and Juliet.

"Dramatic symphony, with choruses, solos, chant, and prologue in choral
recitative" is the title which Berlioz gives to his "Romeo and Juliet."
It was written in 1839, and its composition commemorates an interesting
episode in his career. In the previous year he had written his symphony
"Harold in Italy," the subject inspired by Byron's "Childe Harold."
Paganini, the wonder of the musical world at that time, was present at
its performance, and was so pleased with the work that he sent Berlioz an
enthusiastic tribute of applause as well as of substantial
remembrance.[14] The composer at that time was in straitened
circumstances, and in his gratitude for this timely relief he resolved to
write a work which should be worthy of dedication to the great violinist.
His Autobiography bears ample testimony to the enthusiasm with which he
worked. He says:--

"At last, after much indecision, I hit upon the idea of a symphony,
with choruses, vocal solos, and choral recitatives, on the sublime and
ever novel theme of Shakspeare's 'Romeo and Juliet.' I wrote in prose
all the text intended for the vocal pieces which came between the
instrumental selections. Emile Deschamps, with his usual delightful
good-nature and marvellous facility, set it to verse for me, and I
began....

"During all that time how ardently did I live! How vigorously I struck
out on that grand sea of poetry caressed by the playful breeze of
fancy, beneath the hot rays of that sun of love which Shak