Roméo et Juliette Op.17 Hol.73: Symphonie dramatique
For his third symphony “Roméo et Juliette” (1839) Berlioz turned to his greatest literary passion, Shakespeare, drawing once again on his ownmost fervent experiences.
Berlioz’s discovery of Shakespeare in 1827 had been overwhelming not only for the dramatic force of the poetry and drama, but also because the leading actress of the company, Harriet Smithson,immediately won his heart. She later became his wife.
He began to think seriously about composing some kind of musical “Romeo and Juliet” but it was not realised until 1839. The symphony is scored fordoublechorus (to represent the two warring families), solo voices as secondary characters, with the lovers themselves represented by the orchestra.
Urtext of the New Berlioz Edition / Partitions classique / Ensemble et orchestre / Conducteur / BARENREITER

Par MAW NICHOLAS. For Cello and string orchestra and commisioned by the 1985 Kings Lynn Festival with funds provided by the Arts Council of Great Britain. Maw's highly individual musical voice is basically tonal, blending the familiar with the unfamiliar, and characterised by a natural lyricism. a great many remarkable qualities. . . it contains numerous precise and beautiful images. Paul Griffiths, The Times, 22 September 1986/ Répertoire / Conducteur