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Background: This issue brings together Berlioz’s greatest symphony - the fantastique - and grandest choral work. The former was inspired by his wish to impress the actress, Harriet Smithson, with whom he had become infatuated seeing her as Juliet as well as Hamlet’s Ophelia. He invoked her in all five movements by employing a theme – an “idée fixe” – in this autobiographical work which has become not only well known and extremely popular. The “Grande Messe des Morts” or Requiem requires such enormous forces to make its full effect that performances are necessarily rare events. With the main orchestra and chorus occupying the centre Berlioz employs brass bands to the left, right, behind and even behind the conductor giving the Tuba mirum section in the Dies Irae a spectacular effect on the listener. Parts of the Requiem, however, are handled with extreme delicacy thus when the full forces come together their impact is even more thrilling. |
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COMPOSER: Hector Berlioz |
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