An interview with Jean Claude Malgoire about Hector Berlioz and his time…

INTRODUCTION

When I heard for the first time Hector Berlioz’ “Symphonie Fantastique” i was still a teenager: I had been reading some time earlier, that Niccolò Paganini had been fascinated by the young Berlioz, so I wanted to have a closer look to this eminent french composer’s work.

The story between Paganini and Berlioz is complex: first enchanted by the fire and modernity of his music (especially when he heard the “Symphonie Fantastique”), Paganini ordered a Viola concerto to the young composer. Paganini owns a wonderful viola made by Stradivari, and wants to enhance this wonderful instrument with a work at the height of his virtuosity. On one side we can understand Paganini’s demarche, but on the other side we can easily guess under which pressure young Berlioz felt.

He starts composing “Harold en Italie”, a symphony in four parts. During the first perusals with the composer, Paganini shows himself extremely unhappy. He, the grand Paganini, should play only a few notes here and there, from time to time? The collaboration is violently stopped: Paganini is upset and the symphony will stay in a drawer for several years…