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Fact file
| Composer | Berlioz, Hector (1803-1869) |
| Period | Romantic |
| Year | 1834 |
| Work type | Orchestral |
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PerthBerlioz Symphonie fantastique
Berlioz
Scottish Chamber Orchestra; Maxim Emelyanychev; Timothy Ridout
EdinburghBerlioz Symphonie fantastique
Berlioz
Scottish Chamber Orchestra; Maxim Emelyanychev; Timothy Ridout
GlasgowBerlioz Symphonie fantastique
Berlioz
Scottish Chamber Orchestra; Maxim Emelyanychev; Timothy Ridout
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Sir Simon Rattle and the OAE make Berlioz sound radically new
Simon Rattle and the Orchestra of the Age of Enlightenment deliver a revelatory all-Berlioz programme, crowned by a sensational Symphonie Fantastique of rare clarity, colour and imagination.
Smiles of a summer night: Paavo Järvi at the Pärnu Music Festival
New music, old friends and supercharged Strauss from the Estonian Festival Orchestra.
Berlioz and Brahms brighten up the Tonhalle
The Tonhalle-Orchester Zürich plays Schoenberg's orchestration of Brahms' G minor Piano Quartet, while Antoine Tamestit joins the orchestra as wandering soloist in Berlioz' Harold in Italy.
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ParisBrahms and Berlioz with the Orchestre National de France
Brahms, Berlioz
Orchestre National de France; Emmanuel Krivine; Nicolas Bône
ViennaTonhalle Orchester Zürich / Antoine Tamestit / Paavo Järvi
Berlioz, Brahms
Tonhalle-Orchester Zürich; Paavo Järvi; Antoine Tamestit
HelsinkiNicholas Collon & Lawrence Power
Berlioz, Debussy, Respighi
Finnish Radio Symphony Orchestra; Nicholas Collon; Lawrence Power
Latest articles
Bachtrack top ten: Viola
To celebrate Viola Month here at Bachtrack, editors Mark and Elisabeth have selected their favourite concertos and sonatas featuring the instrument.
The evolution of a muffled minority: viola players throughout history
They have been the butt of musical jokes for a long time: but today more than ever, viola players must be taken seriously. Here is a study on the surprising evolution of an instrument still not celebrated enough.
Berlioz 150: Harold in Italy
Antoine Tamestit reflects on a much misunderstood work, initially rejected by Niccolò Paganini, and how he learnt to breathe life into the role of Byron's "Childe Harold".