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| | Harold en Italie |
 | | Harold en Italie's hero, of course, is Berlioz himself: he had already described the vistas, pilgrim's march, and mountaineer's serenade in a string of articles that began in 1832 (later absorbed into his Voyage musical en Allemagne et en Italie, 1843, one of the primary sources for the Mémoires, 1870). |
 | | The text that became chapters 38—40 of the Mémoires amounts to a level of precompositional activity strongly parallel the Fantastique's program. |
 | | At first glance Harold en Italie seems the least progressive of Berlioz's symphonies, to be numbered among the relatively few conservative works of the fertile decade from 1830 that saw the breathtaking advances of the Requiem, Cellini, and the Nuits d'été as well as the third and fourth symphonies. |
| hector.ucdavis.edu /Berlioz2003/ProgNotes/068Harold.htm (1092 words) |
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