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Hector Berlioz’s monumental work has long been considered one of the most important and “greatest” works for wind band. It is one of a handful of large-scaled wind works by acknowledged master composers. But since Richard Franko Goldman published his edition nearly 70 years ago, the work has remained inaccessible. It is the wish of the editor that this edition will revive interest in the work and bring it up to “staple” status in the modern wind band’s repertoire.
Although the entire work (three movements) is quite a full undertaking for many ensembles (around 30 minutes), Berlioz himself performed portions of the work on dozens of occasions. It was immediately a favorite of audiences and musicians alike, and Berlioz even referred to it as his “indestructible warhorse.” Berlioz was especially fond of programming the last two movements of the symphony, which, when paired, should be played without pause as indicated in the score. Berlioz conceived the solo in the second movement as a trombone solo, but it is high enough to require a very advanced performer, and Berlioz mentions suitable substitutes for that might be Bass Clarinet or Horn.
High praise for the Grande Symphonie Funèbre et Triomphale:
Notes:
The first performance of the Symphonie was for the occasion of the dedication of the memorial column erected to remember the “combatants” and heroes of the July Revolution 1830 on its 10th anniversary. Because the performance was outdoors, Berlioz necessarily scored the work for large forces, and more than 200 participants too part in the premiere. Berlioz, inspired by its rousing success, would soon add optional string and chorus parts to the work and performances of the work with over 400 performers were given before the end of 1840. “Marche Funébre” was composed as a funeral procession to move the remains of the “glorious dead” to their final interment in the base of the new column.
“I positioned the trumpets and side-drums at the front in such a way as to be able to give them the tempo, whilst I myself walked backwards. As I had envisaged when composing the music, the opening bars, being exposed, were clearly heard over a great distance by the rest of the band. The result was that not only the Marche Funèbre but also the Apothéose were played six times during the course of the procession with truly extraordinary ensemble and effect.” Hector Berlioz – Mémoires, 1865
Clarinets: Berlioz’s wishes reflect an ensemble that is nearly one-third clarinets (33 total including 5 petite E♭ clarinets). While few modern conductors would wish to bring that many sopranino clarinets on stage, we should be mindful of the balance that was intended through this scoring. For nearly all its duration, the E♭ part doubles the B♭ Clarinet-I part which will provide some relief to the first clarinets, whose tessitura and endurance are challenged by the work.
Ophicléides, Saxophones and optional Organ: Like in Symphonie Fantastique, Berlioz scored for two ophicléides, which often play in octaves. These parts have been assigned to tubas and euphoniums. While Berlioz famously endorsed Adolphe Sax and his new instrument in 1842, just 2 years after the Symphonie was written, they were not in the original instrumentation. In this edition they are utilized periodically to reinforce clarinet and horn parts and at tutti passages. In the last movement, Apothéose, they additionally cover optional choral and string lines; they will notice editorial dashed slurs that indicate some enunciation and phrasing at choral moments. In this movement the optional Organ part also covers Berlioz’s optional string parts and, like the saxophones, also reinforces the choral parts (SSTTBB, which can be ordered separately).