戈利欽家族

白遼士(1803～1869年)

Berlioz,(Louis-) Hector

法國作曲家。早年學習吉他，但經過一番奮鬥後才獲准認真學習音樂。1830年二十七歲時以瘋狂的迷戀寫成《幻想交響曲》，初演時就引起轟動，成為浪漫時期的里程碑之作。他是個才華橫溢的指揮，對於管絃樂的知識無人匹敵。他衝動而熱情，是個好爭論的評論家，不斷地像牛虻那樣挑戰音樂界的成規。雖然他是當時最受人驚歎的法國音樂人物，但特異的作曲風格幾乎使他所有的音樂作品在20世紀中葉之前都被排除在節目單外。作品包括《本維努託.契里尼》（1837）、《特洛伊人》（1858）和《比阿特麗斯和培尼狄克》（1862）；交響曲《哈羅德在義大利》（1834）和《羅密歐與茱麗葉》（1839）；合唱《安魂曲》（1837）、《浮士德的天譴》（1846）、《頌歌》（1849）和《基督的童年》（1854）。他的著作《配器法》（1843）是當時這類著作中最具影響力的，他的回憶錄（1870）也廣被人閱讀。

English version：

1803～1869年

Berlioz,(Louis-) Hector

French composer. He studied guitar in his early years,but had to fight to be permitted to study music seriously. His Symphonie fantastique (1830),written at 27 in the frenzy of an infatuation,had a stormy premiere and became a landmark of the Romantic era. He became a brilliant conductor,with an unsurpassed knowledge of the orchestra. Impulsive and passionate,he was a contentious critic and gadfly constantly at war with the musical establishment. Though he was the most compelling French musical figure of his time,his idiosyncratic compositional style kept almost all his music out of the repertory until the mid-20th century. His works include the operas Benvenuto Cellini (1837),Les Troyens (1858),and Béatrice et Bénédict (1862); the program symphonies Harold in Italy (1834) and Romeo and Juliet (1839); and the choral Requiem (1837),La damnation de Faust (1846),Te Deum (1849),and L'enfance du Christ (1854). His orchestration treatise (1843) is the most influential such work ever written,and his memoirs (1870) were widely read.