Hector Berlioz (ed. Jonathan Elkus)
The work bears the designation Opus 15. The title translates from the French as "[Grand] Funeral and Triumphal Symphony."
N.B. For further edition notes, please see Discussion tab, above.
1. Marche funèbre
2. Oraison funèbre
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II
B-flat Bass Clarinet
E-flat Contra-Alto Clarinet
B-flat Contrabass Clarinet
B-flat Cornet I-II
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Bass Trombone (optional)
String Bass (optional)
(percussion detail desired)
None discovered thus far.
The symphony was a commission by the French government to celebrate the tenth anniversary of the 1830 July Revolution which had brought Louis-Philippe to power, by erecting the July Column in the Place de la Bastille, Paris. Berlioz had little sympathy for the régime, but he accepted the opportunity to write the work which brought him a payment of 10,000 francs. The Symphonie militaire (later renamed Symphonie funébre et triomphale), far from being a successor to Romeo and Juliet, represents a reversion to an earlier, pre-Beethovenian style, the monumental French tradition of public ceremonial music.
Remarkably, Berlioz claimed to have finished the score to the entire symphony in only 40 hours. This strengthens the supposition that Berlioz in fact harvested much of the musical material for the Grande symphonie funèbre et triomphale from unfinished works. The first movement, the Marche funèbre, was constructed from the Fête musicale funèbre à la mémoiredes homes illustres de la France...
The symphony was originally scored for a wind band of 200 players who were to accompany the procession which moved the coffins of those who had died fighting in the 1830 revolution for reburial beneath a memorial column which had been set up on the site of the Bastille. Berlioz himself led the band. On the actual day of the parade, little of the music could be heard over the cheering crowds who lined the way. Nevertheless, the work had been such a success at the dress rehearsal that it was given two more performances in August, which sealed its reputation as one of the composer's most popular works during his lifetime.
Berlioz revised the score in January of 1842, adding an optional part for strings and a final chorus to words by Antony Deschamps. ... Richard Wagner told Robert Schumann that he found passages in the last movement of Berlioz's symphony so "magnificent and sublime that they can never be surpassed."
- Program note from Wikipedia
- Audio CD: United States Marine Band (Jason K. Fettig, conductor) - 2019
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- United States Marine Band (Washington, D.C.) (Jason K. Fettig, conductor; Samuel Barlow, trombone) – 11 March 2019 (The Music Center at Strathmore)
Works for Winds by This Composer
- Apothéose from "Grande Symphonie Funèbre et Triomphale" (tr. McMahan) (1840/2014)
- A Ball. See: Un Bal
- Béatrice et Bénédict. See: Overture to "Béatrice et Bénédict"
- Benvenut Cellini (arr. Henning) (1937)
- Damnation of Faust (arr. Smith) (1957)
- Dream of a Witches' Sabbath (tr. Patterson) (1830)
- Dream of a Witches' Sabbath from "Symphonie Fantastique" (arr. Rogers) (1830/1995)
- Le Carnaval Romain (arr. Van Grevenbroek) (1844/?)
- Le Carnaval Romain (arr. Van Mever) (1844/1961)
- Le Corsaire (tr. Schuller) (1856/1971)
- Le Corsaire Overture (tr. Beeler) (1856/)
- Les Francs-juges, Opus 3 (arr. Knox)
- Grande Symphonie Funèbre et Triomphale (1840)
- Grande Symphonie Funèbre et Triomphale (ed. Dondeyne) (1840)
- Grande Symphonie Funèbre et Triomphale (ed. Elkus) (1840)
- Grande Symphonie Funèbre et Triomphale (tr. Inkster) (1840/2015)
- Grande Symphonie Funèbre et Triomphale (arr. Whitwell) (1840/1973)
- March to the Scaffold (arr. Brown and Foulds) (1830/1937)
- March to the Scaffold (arr. Custer) (1830/1996)
- March to the Scaffold (tr. Gardner) (1830/1963)
- March to the Scaffold (tr. Leidzén) (1830/1937)
- March to the Scaffold from "Symphonie Fantastique" (tr. Patterson) (1830/2005)
- March to the Scaffold from "Symphonie Fantastique" (tr. Rogers) (1830/1995)
- Marche Hongroise (arr. Goto) (1820/1846/1986)
- Marche Hongroise (arr. Smith) (1820/1846/1961)
- Ouverture du Carnaval Romain (tr. Nefs) (1838/1844/2013)
- Overture to "Béatrice et Bénédict" (trans. Henning) (1862/1937)
- Rakoczy March. See: Marche Hongroise
- Roman Carnival Overture (arr. Godfrey) (1838/1844/1962)
- Roman Carnival Overture (tr. Kreines) (1838/1844/)
- Roman Carnival Overture (arr. Van Grevenbroek). See: Le Carnaval Romain
- Roman Carnival Overture (arr. Van Mever). See: Le Carnaval Romain
- Roman Carnival Overture (tr. Nefs). See: Ouverture du Carnaval Romain
- Roman Carnival Overture (tr. Patterson) (1838/1844/)
- Roman Carnival Overture (arr. Safranek) (1838/1844/1962)
- Roman Carnival Overture (arr. Singleton) (1838/1844/2000)
- Royal Hunt and Storm (arr. Boyd) (1966)
- Scaff! (arr. Wheeler) (2016)
- Suite from "Symphonie Fantastique" (arr. Story) (1830/2016)
- Symphonie Fantastique (arr. Foulds) (1830/1937)
- Symphonie Fantastique (tr. Parès) (1830/)
- Symphonie Fantastique: IV. March to the Scaffold (tr. VanDoren) (1830/2021)
- Symphonie Fantastique (arr. Yodo) (1830)
- Trojan March (arr. Erickson) (1971)
- Un Bal (arr. Rogers) (1830/1995)