I confess I’m a philistine in the case of classical music. It’s not that I don’t prefer it – I went by means of a interval as a youngster in Southend once I drove round with Basic FM blaring out of the audio system of my battered Fiat Uno. However even this, to inform the reality, was principally in performative distinction to the music that pumped out of the souped-up automobiles of the native wideboys. Often, once I notably loved a bit, I’d pay attention out for the title of the composer. It was normally Vaughan Williams. That’s so far as my self-education went.
It’s quite shaming to grasp that I’ve by no means bothered to do greater than scratch the floor. In these teenage years, my musical desire was largely for pained, romantic singer-songwriters like Jeff Buckley. I’d hearken to The Final Goodbye, deeply relating as he sang “That is our final embrace / Should I dream and at all times see your face?”, regardless of having by no means had a relationship that lasted greater than three months.I suppose I bought my repair of orchestral music within the preparations of artists corresponding to Björk and Nick Drake, or movie composers corresponding to John Williams, whose work was etched into my mind like every other youngster of the 80s.
So when Aurora Orchestra’s Nick Collon and Jane Mitchell bought in contact to ask if I wish to be concerned in Aurora’s 2019 Promenade efficiency of Symphonie Fantastique by Hector Berlioz, I had a split-second determination to make. Do I fake I do know who the hell Berlioz is and declare to be an enormous fan of the piece, or do I confess my complete ignorance? Fortunately, Collon started to elucidate earlier than I even made my determination. I think he knew. His eyes lit up as he advised me it was his favorite symphony and defined the story behind its composition.
Berlioz was a younger composer residing in Paris in 1827 when he went to see an English theatre firm performing Hamlet on the Théâtre de l’Odéon. He was immediately smitten with Harriet Smithson, the actor enjoying Ophelia. He grew to become obsessed, watching her come and go from her condo, which occurred to be reverse his personal. He wrote her passionate letters to which she didn’t reply. He discovered himself tortured by this unrequited love, depressed, unable to sleep. After two years, he determined he would write a symphony so sensible, it will “stagger the world” and Harriet could be so impressed that she would absolutely love him again.
The symphony he wrote was one of many first makes an attempt to inform a narrative by means of music. As Collon put it to me, a movie rating earlier than there have been movies to attain. Berlioz didn’t stray far for inspiration for the narrative, telling the story of an artist who sees a lady and falls desperately in love along with her. The joys of this love sours right into a torturous isolation and, believing his like to be unrequited, the artist poisons himself with opium. He slips right into a horrible dream wherein he kills his love and is subsequently executed for her homicide, whereupon he’s surrounded by witches and demons who dance and have a good time his demise.
His Symphonie Fantastique did certainly stagger the world: Smithson ultimately heard it and, remarkably, they bought married. Maybe unsurprisingly, the connection was not constructed to final. Inside years, Berlioz started an affair with a brand new infatuation.
Ghosts was but to air after we first labored on this live performance, however I chuckled on the greater than passing resemblance to the melodramatic late poet Thomas Thorne, who I play in that present, a personality pushed by an obsessive infatuation with anyone he barely is aware of, and whose temper is consistently swinging between states of ecstatic mania and agonised melancholy. Whereas the poetry this conjures up in Thomas is horrible, in Berlioz, it impressed a masterpiece. His Symphonie Fantastique is actually a groundbreaking work of genius. The idée fixe is the main innovation Berlioz made – a brief melody we affiliate with the article of the artist’s affection. It seems when he first sees her and recurs every time he encounters her (or the considered her) once more, recognisable however modified every time relying on the context within the story, simply as we’d recognise within the character themes of a movie rating corresponding to Star Wars, recorded round 150 years later.
Berlioz wished his description of the symphony’s narrative to be included within the programme at any live performance the place it was carried out. Aurora’s plan was to go one step additional and do one thing theatrical with a staging of the piece. We didn’t need to pantomime the story by means of every motion and thereby diminish the ability of the music, however quite to open it out in some way and introduce slightly of Berlioz’s character. We used the composer’s personal phrases to elucidate his motivation for writing the symphony and to immediate every motion of the piece.
I really like the way in which Berlioz described the depths of his emotions and the heights of his ambition. It’s straightforward to seek out him slightly ridiculous, and it’s clear that his emotions for Harriet are obsessive and superficial and don’t appear to increase to desirous to know her totally as a human being. However anybody who has ever been younger and lovesick will know the way horribly consuming it’s if you end up going by means of it. And I’m positive that many individuals, just like the younger me, could have discovered that the best balm may be the work of an artist who has discovered a strategy to vividly describe that feeling again to you and, in so doing, make you’re feeling much less alone.
Fantastique, with Mathew Baynton, is on the Royal Pageant Corridor, London on 27 September. Aurora can even carry out Berlioz’s Symphonie Fantastique at Nationwide Live performance Corridor, Dublin (5 October) and Warwick Arts Centre (7 October)