LYCOS RETRIEVER 
Hector Berlioz: Symphonie Funbre
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Many decades were to pass before Berlioz's music began to be accepted into the regular repertoire of symphony orchestras and opera houses. Even half a century ago it was a rare and notable occasion when, for instance, his Symphonie funebre et triomphale or his opera Les Troyens was performed. There were still many people, and indeed many musicians, who felt that Berlioz, with the exception of a few overtures and the Symphonie fantastique, was unwieldy, uncontrolled and unsubstantial. By the mid-20th century, there had only been a few conductors of international prowess who championed the bulk of Berlioz's output with love and respect — notably Hamilton Harty and Thomas Beecham, both outstanding interpreters who revealed the subtleties and inspiration of his writing.
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Before the visits of Berlioz, there was no Russian music. His was the paradigm that inspired the genre. Tchaikovsky raided the Symphonie Fantastique like a tuck-shop for his third symphony. Mussorgsky died with a copy of the Berlioz Treatise on his bed. 1
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Berlioz stirred all of Europe with his revolutionary music. Never had an orchestra sounded like this before--with such a range of sounds swirling about, but with precision. Listen to this one minute excerpt from his most famous work, the Symphonie Fantastique
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Despite these and other chores, Berlioz found the time and energy to compose. The success of Symphonie fantastique, which he had written before embarking on his Italian sojourn, led to a commission from the famed virtuoso Nicol
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Berlioz did not abandon traditional musical forms. He may have expanded them in unorthodox ways, but for the most part even his ``Symphonie fantastique'' follows the patterns found in symphonies of Mozart, Haydn and Beethoven.
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Symphonie Funbre