New Millennium Strings

Hector Berlioz (1803-1869)

Roman Carnival Overture

Besides being well-educated as a musician, Berlioz also studied medicine. When he entered the Paris Conservatoire as a student of composition, he gave up his medical studies. Jean Francois Le Sueur and Anton Reicha were his teachers of composition. In 1830, Berlioz's skill won him the esteemed competition for composers, the Prix de Rome. Next, he held a position as the music librarian for the Paris Conservatoire in 1838, he became a touring conductor between 1842-1854, and then he was employed from 1835-1863 as a music critic for the periodical Journal de Débats. For Berlioz 1844 was a remarkably productive year. He not only wrote the influential Treatise on Modern Instrumentation and Orchestration, but he also composed the Roman Carnival Overture, which exemplifies his gift for colorful orchestration.

The Roman Carnival Overture demonstrates Berlioz's innovative use of instrumentation. The overture opens brilliantly with full orchestration and then the music becomes quieter and more melodic. At this moment the cor anglais (English horn) becomes the featured melodic solo instrument of Berlioz's choosing. The timbre of the English horn lends itself to an operatic role. As the overture continues, the entire orchestra joins in and fills out the lyrical melody. First we hear two themes that are intertwined. The strings and winds play canonically, followed by the brass. The loud final section has a compelling drive, produced by repetitive rhythms, and the overture concludes with a dynamic brass choir.

-- program notes by Laurien Jones

August, 2004