The Hector Berlioz Website - A Catalogue of Berlioz’s Musical Works

Introduction

This page gives a complete listing of all Berlioz’s musical works, organised into 6 tables: I. Extant works (much the largest category) II. Works written but partially or completely lost III. Unfinished works IV. Works planned but not written V. Sketches and albumleaves VI. Works of disputed authenticity. In a small number of cases it has seemed appropriate to list a particular work in more than one category (for example the opera Les Francs-Juges). Almost every work listed is linked to a page elsewhere on this site which provides more material on it.

The lists have been compiled using various sources, especially the indispensable Catalogue of the Works of Hector Berlioz (1987) by D. Kern Holoman, which forms volume 25 of the New Berlioz Edition (NBE). Numbers preceded by H refer to the relevant entry in Holoman’s Catalogue, to which the reader is referred for full details. Reference is also made in the tables below to an article by Pierre-René Serna, "Berlioz et l’opéra: tentations, avortements, frustrations" in Hector Berlioz, ed. Christian Wasselin & Pierre-René Serna (Paris, L’Herne, 2003), pp. 187-212 (referred to as "Serna" for short, followed by page numbers). We would like to express our particular thanks to Pierre-René Serna for a number of valuable suggestions which have been incorporated in the tables below.

In each table the works have been listed according to their date of composition, where known. The dates given should be used only as signposts. Even where a work is thought to have been composed at a particular date (for example, from the composer’s Correspondance générale; CG for short), it may well have been based in part on music written earlier (cf. here Berlioz and his music: self-borrowings), and Berlioz may also have continued to revise the work after the main period of composition. The Symphonie fantastique, for example, illustrates both points: though mainly written in 1830, the symphony is known to have incorporated music written years earlier, some of it dating even from before the time when the composer came to Paris in 1821, and Berlioz continued to revise the work in subsequent years after its first performance on 5 December 1830.

In the tables below the page Berlioz and his music: self-borrowings is abbreviated as "Self-borrowings".

This page is also available in French

Contents of this page:

I. Extant works

II. Works written but partially or completely lost

III. Unfinished works

IV. Works planned but not written

V. Sketches and albumleaves

VI. Works of disputed authenticity

VII. Related pages

I. Extant works

Date of composition	Title and description	NBE volume
ca. 1819	Accompaniment to Fleuve du Tage (H5) Guitar accompaniment, music by J.-J.-B. Pollet	22b
ca. 1819	Le Dépit de la bergère (H7) Romance for voice and piano See Self-borrowings	15
ca.1819-1821	Le Maure jaloux (H9) Romance for voice and piano Version I (H9A): L’Arabe jaloux – autograph survives Version II (H9B): published 1822	15
ca.1819-1821	Amitié reprends ton empire (H10) Romance for 3 voices and piano Version I (H10A): autograph survives Version II (H10B): published 1823	15
ca.1819-1822	Recueil de romances avec accompagnement de guitare (H8) 25 songs for voice and guitar, music by various composers See also Table VI	22b
1822	Pleure pauvre Colette (H11) Romance for two voices and piano	15
1822	Canon libre à la quinte (H14) For two voices and piano	15
1823	Le Montagnard exilé (H15) Chant élégiaque for two voices and piano or harp	15
1823	Toi qui l’aimas verse des pleurs (H16) Romance for voice and piano	15
1824-1825	Messe solennelle (H20A) First performance: 10 July 1825, Église Saint-Roch See Self-borrowings	23
1825-1826	Scène héroïque (La Révolution grecque) (H21) Version I (H21A): for chorus and orchestra First performance: 26 May 1828, Salle du Conservatoire, Bloc conducting See 1833 for Version II and Self-borrowings	12a
July 1826	Fugue (H22) Submitted for the Prix de Rome competition	6
1825-1826 revised 1829	Fragments of the opera Les Francs-Juges (H23A; Serna p. 193-4) First performance of overture and movements 7 and 11 on 26 May 1828, Salle du Conservatoire, Bloc conducting See also Works written but now lost and Self-borrowings	4
1826	Grande Ouverture des Francs-Juges (H23D) First performance: 26 May 1828, Salle du Conservatoire, Bloc conducting See Self-borrowings	4
1826-1828	Grande Ouverture de Waverley (H26) First performance: 26 May 1828, Salle du Conservatoire, Bloc conducting	20
July 1827	La Mort d’Orphée (H25) Prix de Rome cantata Performance planned for 26 May 1828 but cancelled See Self-borrowings	6
1828	Resurrexit (H20B) Version II Adapted from the Messe solennelle (see 1824-5) First performance: 26 May 1828, Salle du Conservatoire, Bloc conducting See Self-borrowings	12a
before 1828	Nocturne (Mélodie pastorale) (H23B) No. 7 of the opera Les Francs-Juges (see under 1825-1826) Version II: voices and piano First performance: 26 May 1828, Salle du Conservatoire, Bloc conducting	4
July 1828	Herminie (H29) Scène lyrique Prix de Rome cantata See Self-borrowings	6
ca.1828?	Nocturne à deux voix (H31) Song for two voices with guitar accompaniment	15
1828	Le Roi de Thulé (H33A) Chanson gothique (No. 6 of Huit Scènes de Faust [H33]) Version I: for soprano and piano Version II: for soprano and orchestra – see next entry	15
1828-1829	Huit Scènes de Faust (H33) Later incorporated in La Damnation de Faust (H111 – see 1846) First performance (No. 3 with six students from the Conservatoire): 1 November 1829, Salle du Conservatoire, Habeneck conducting [3 February 1844 (No. 7), Salle Herz, cancelled] See Self-borrowings	5
July 1829	Fugue à trois sujets (H35) Submitted for the Prix de Rome competition	6
July 1829	Cléopâtre (H36) Scène lyrique Prix de Rome cantata First performance: 1 August 1829, Institut de France (piano reduction) See Self-borrowings	6
1829	Le Ballet des ombres (H37) "Ronde nocturne" for voices and piano See Self-borrowings	14
1829	Neuf Mélodies (H38) (later called Irlande), originally for voices and piano No. 1 Le Coucher du soleil (H39; NBE 15) Rêverie First performance: 18 February 1830, Athénée musical No. 2 Hélène Ballade à 2 voix Version I (H40A; NBE 15): for 2 voices and piano See 1844 for Version II No. 3 Chant guerrier (H41; NBE 14) For tenor, bass, male chorus and piano First performance: 5 December 1830, Salle du Conservatoire No. 4 La Belle Voyageuse Ballade Version I (H42A; NBE 15): for voice and piano See 1834, 1842, 1851 for Versions II-IV No. 5 Chanson à boire (H43; NBE 14) For tenor, male chorus and piano No. 6 Chant sacré Version I (H44A; NBE 14): for tenor or soprano, chorus and piano First performance: 18 February 1830, Athénée musical See 1843 for Version II and Lost Works 1844 for Version III No. 7 L’Origine de la harpe (H45; NBE 15) Ballade For soprano or tenor and piano No. 8 Adieu Bessy For tenor and piano Version I (H46A; NBE 15): in A flat See 1849 for Version II No. 9 Elégie en prose (H47; NBE 15) For tenor and piano	14 or 15
1830	Épisode de la vie d’un artiste (H48) Symphonie fantastique en cinq parties Performance planned for 3 May 1830, Théâtre des Nouveautés, cancelled First performance: 5 December 1830, Salle du Conservatoire, Habeneck conducting First performed with Le Retour à la vie (see 1831): 9 December 1832, Salle du Conservatoire, Habeneck conducting See Self-borrowings	16
July 1830	La mort de Sardanapale (H50) Prix de Rome cantata (only 197 bars preserved) First performance: 30 October 1830, Institut de France, Grasset conducting See Works Lost and Self-borrowings	6
1830	Hymne des Marseillais (La Marseillaise) Arrangement: music and text by Rouget de Lisle Version I (H51A): for double chorus and orchestra See 1848 for Version II	22b
1830	Chant du neuf Thermidor (H51bis) For tenor, chorus and orchestra Arrangement: music and text by Rouget de Lisle First performance: 3 March 1985, Davis, California, D Kern Holoman conducting	22b
1830	Ouverture de la Tempête (H52) Later incorporated into Le Retour à la vie (H55 – see 1831) as Fantaisie dramatique sur La Tempête First performance: 7 November 1830, Paris Opéra Le Peletier	7
1831	Grande Ouverture du Roi Lear (H53) First performance: 22 December 1833, Salle du Conservatoire, Girard conducting	20
1831	Intrata di Rob-Roy MacGregor (H54) First performance: 14 April 1833, Salle du Conservatoire, Habeneck conducting See Self-borrowings	20
1831	Le Retour à la vie Later called Lélio Sequel to the Symphonie fantastique (H48 – see 1830) Version I (H55A): Le Retour à la vie; mélologue en six parties First performance: 9 December 1832, Salle du Conservatoire, Habeneck conducting See 1855 for Version II and Self-borrowings	7
1831	Méditation religieuse Version I (H56A): for chorus and wind instruments (lost) See 1849 for Version II
1832	Quartetto et coro dei maggi (H59) For chorus and orchestra	12a
1832	La Captive Version I (H60A): for voice and piano First performance: Louise Vernet sang the work at the Villa Medici both before and after Berlioz’s stay in Rome. See also Subiaco and the chapter on Berlioz in Legouvé’s Soixante ans de souvenirs Version II (H60B): for voice and piano Version III (H60C): for voice, cello and piano First performance: 30 December 1832, Salle du Conservatoire See 1848 for Versions V-VI and Table II, 1834 for Version IV	15
before June 1833	Sur les Alpes, quel délice! (H64) Le Chasseur des chamois. Chant suisse For male voices, accompaniment lost Arrangement: music by Ferdinand Huber First performance: 6 June 1833, Hôtel de L’Europe Littéraire	22b
before July 1833	Scène héroïque (La Révolution grecque) (H21B) Version II: for chorus and military band First performance: planned on 28 July 1833 at Place Vendôme and then on 9 August 1833 at the Opera, both cancelled See 1825-1826 for Version I	12a
before December 1833	Le Jeune Pâtre breton (Le Paysan breton) Version I (H65A): Le Paysan breton, for voice and piano First performance: 22 December 1833, Salle du Conservatoire See 1834, 1835 for Versions II-IV; see also 1850, under Fleurs des landes (H124)	15
1834	Le Jeune Paysan breton Version II (H65B): for voice and orchestra (lost) Version III (H65C): for voice, horn and piano See 1833 for Version I	15
1834	Les Champs Romance for voice and piano Version I (H67A) See 1850 for Version II	15
1834	Harold en Italie (H68) Symphonie en 4 parties avec un alto principal First performance: 23 November 1834, Salle du Conservatoire, Girard conducting See Self-borrowings	17
1834	Sara la baigneuse Ballade Version I (H69A): for male quartet and orchestra (lost) First performance: 9 November 1834, Salle du Conservatoire, Girard conducting See 1849 for Version III and Table II, 1838 for Version II (lost)
before September 1834	Je crois en vous (H70) Romance for voice and piano See Self-borrowings	15
before November 1834	La Belle Voyageuse Version II (H42B): for male quartet and orchestra (lost) Performed on 9 November 1834, Salle du Conservatoire, Girard conducting; Berlioz may have been one of the singers See 1829 for Version I
before November 1835	Le Jeune Pâtre breton Version IV (H65D): for voice and orchestra First performance: 22 November 1835, Salle du Conservatoire, Girard conducting See 1833 for Version I	13
1835	Le Chant des Bretons Version I (H71A): for tenor or male chorus and piano See 1849 for Version II	14
1835	Chansonette de M. Léon de Wailly (H73) for voice and piano See Self-borrowings	15
before November 1835	Le Cinq Mai (H74) Chant sur la mort de l’Empereur Napoléon For bass, chorus and orchestra First performance: 22 November 1835, Salle du Conservatoire, Girard conducting	12a
1837	Grande Messe des morts (Requiem) (H75) First performance: 5 December 1837, Saint-Louis des Invalides, Habeneck conducting See Self-borrowings	9
1838	Benvenuto Cellini Opéra semi-seria Complete opera (76A), composed 1834-1838, extensively revised between 1852 and 1856 for performances in Weimar (1852, 1856) and London (1853, in Italian) First complete performance, Paris 2 version: 10 September 1838, Paris Opéra Le Peletier, Habeneck conducting First performance in Weimar: 20 March 1852, Hoftheater, in German translation, Liszt conducting; first performance in Weimar of the revised version: 17 April (?) or 17 November 1852 First complete performance of Paris 1 version, Paris: 8 December 2003, Salle Olivier Messiaen, John Nelson conducting See also 1838 (H76B), 1843-44 (H95) and Self-borrowings	1
1838	Grande Ouverture de Benvenuto Cellini (H76B) First performance (as a concert piece): 6 February 1840, Salle du Vauxhall, Berlioz conducting	1
1839	Aubade Version I (H78A): Le lever pour la chasse for voice and 2 horns Version II (H78B): for voice and brass (later than Version I, but the exact date is unknown)	15 and 13
1839	Roméo et Juliette (H79) Symphonie dramatique First performance: 24 November 1839, Salle du Conservatoire, Berlioz conducting See Self-borrowings	18
1840	Grande Symphonie funèbre et triomphale Version I (H80A): for military band First performance: 28 July 1840, in the open air under the direction of Berlioz, leading the procession of musicians which started at the Place de la Concorde and ended at the Place de la Bastille First indoors performance: 7 August 1840, Salle Vivienne, Berlioz conducting See 1842, 1848 for Versions II & III, and Self-borrowings	19
1840-1841	Les Nuits d’été Collection of six songs, issued as œuvre 7 Version I (H81A): for voice and piano No. 1 Villanelle (H82A) No. 2 Le Spectre de la rose (H83A) First performance: 8 November 1840, Salle du Conservatoire, advertised but apparently not performed No. 3 Sur les Lagunes (H84A) No. 4 Absence (H85A) First performance: 8 November 1840, Salle du Conservatoire, advertised but apparently not performed No. 5 Au Cimetière (H86A) Clair de lune No. 6 L’Île inconnue (H87A) Barcarolle See 1843, 1855-1856 for Version II	15
1841	Rêverie et Caprice (H88) Romance for violin and orchestra First performance: 1 February 1842, Salle Vivienne, Alard (violin), Berlioz conducting	21
1841	Le Freyschütz (H89) Recitatives (in French) for Weber’s opera First performance: 7 June 1841, Paris Opéra Le Peletier, Pantaléon conducting	22b
1841	L’Invitation à la valse (H90) Arrangement for orchestra of Weber’s piano original First concert performance: 1 February 1842, Salle Vivienne, Berlioz conducting	22b
1842	Grande Symphonie funèbre et triomphale Version II (H80B): for brass band and chorus, with strings ad libitum First performance: 1 February 1842, Salle Vivienne, Berlioz conducting See 1840 for Version I	19
1842	La Mort d’Ophélie Ballade Version I (H92A): for voice and piano See 1848 for Version II	15
before December 1842	La Belle Voyageuse Ballade (No. 4 of Neuf Mélodies [H38 – see 1829]) Version III (H42C): for mezzo-soprano and orchestra First performance: 29 December 1842, Stuttgart, possibly Berlioz conducting, singer: Marie Recio See 1829 for Version I	13
February 1843; late 1855 – March 1856	Les Nuits d’été Collection of six songs (see 1840-1841 for Version I) Version II (H81B): for voices and orchestra No. 4 Absence (H85B – February 1843) First performance: 17 February 1843, Dresden, Berlioz conducting (with Marie Recio) See 1855 & 1856 for Version II of the other songs	13
1843	Chant sacré (No. 6 of Neuf Mélodies [H38 – see 1829 for Version I]) Version II (H44B): for chorus and orchestra First performance: December 1843, Marseilles	12a
before December 1843	La Belle Isabeau (H94) Conte pendant l’orage For voice and piano	15
1843-1844	Le Carnaval romain (H95) Ouverture caractéristique (see also Benvenuto Cellini [H76 – see 1838]) First performance: 3 February 1844, Salle Herz, Berlioz conducting See Self-borrowings	20
1844	Hélène Ballade à 2 voix (No. 2 of Neuf Mélodies [H38 – see 1829]) Version II (H40B): for male voices and orchestra First performance: 3 February 1844, Salle Herz, Berlioz conducting	12a
1844	Hymne à la France (H97) For chorus and orchestra First performance: 1 August 1844, Festival de l’Industrie at the Cirque Olympique, Berlioz conducting See also 1849, under Vox Populi (H120)	12b
1844	Three pieces for Alexandre’s orgue mélodium: Sérénade agreste à la madone sur le thème des pifferari romains (H98) Toccata (H99) Hymne pour l’élévation (H100)	21
1844	Ouverture du Corsaire (H101) Version I (H101A): La Tour de Nice First performance: 19 January 1845, Cirque Olympique, Berlioz conducting See 1846-1851 for Version II	(20)
1844	Marche funèbre pour la dernière scène d’Hamlet (H103) For wordless chorus and orchestra See also 1851, under Tristia (119B)	12
before December 1844	Le Chasseur danois Version I (H104A): for voice and piano First performance: April 1846, Prague, at a dinner party See 1845 for Version II	15
1845	Marche marocaine (H105) Arrangement and orchestration: music by Léopold de Meyer First performance: 6 April 1845, Cirque Olympique, Berlioz conducting	22
1845	Zaïde Boléro Version I (H107A): for voice and piano (before November 1845) Version II (H107B): for voice and orchestra (November 1845) First performance: 29 November 1845, Vienna, Berlioz conducting See also 1850, under Feuillets d’album (H121)	15 and 13
1845	Le Chasseur danois Version II (H104B): for voice and orchestra First performance: 29 November 1845, Vienna, Berlioz conducting	13
1846	Marche de Rákóczy (H109) Rákóczy-Indulo Later incorporated, with a new coda, in La Damnation de Faust [H111 – see 1846 below] First performance: 15 February 1846, Pest, Berlioz conducting	8b
1846	Chant des Chemins de Fer (H110) For tenor, chorus and orchestra First performance: 14 June 1846, Lille, Town Hall, Berlioz conducting See also 1850, under Feuillets d’album (H121)	12b
1846	La Damnation de Faust (H111) Légende dramatique en 4 parties (Incorporating Huit Scènes de Faust [H33 – see 1828-1829] and Marche de Rákóczy [H109 – see above]) First performance: 6 December 1846, Opéra-Comique, Salle Favart, Berlioz conducting See Self-borrowings	8a-b
before November 1846	Prière du matin (H112) Chœur d’enfants For children’s chorus and piano	14
before November 1846	Le Trébuchet (H113) Scherzo à deux voix For two voices and piano See also 1850, under Fleurs des landes (H124)	15
before December 1846	Marche d’Isly (H108) Arrangement: orchestration of music by Léopold de Meyer First performance: 2 October 1846, New York, George Loder conducting A manuscript of the score in the hand of Berlioz’s copyist Rocquemont is extant; the ascription of the orchestration to Berlioz is thought possible by Holoman (p. 274), but rejected without argument in NBE vol. 22 p. viii n. 3. The arrangement by Berlioz certainly existed; it is not clear that the extant manuscript is of that arrangement. See also Table II and the remarks by P.-R. Serna on this site.	not included in NBE
between 1846 and 1851	Ouverture Le Corsaire Version II (H101B): Le Corsaire First performance: 8 April 1854, Brunswick, Berlioz conducting See 1844 for Version I	20
1848	Hymne des Marseillais [La Marseillaise] Arrangement: music and text by Rouget de Lisle Version II (H51B): for tenor solo, chorus and piano See 1830 for Version I	22b
1848	Grande Symphonie funèbre et triomphale Version III (H80C): Apothéose, for solo voice, chorus and piano See 1840 for Version I	14
before April 1848	La Menace des Francs (H117) Marche et chœur For chorus and orchestra First performance: 25 March 1851, Salle Ste-Cécile, Berlioz conducting See also 1849, under Vox Populi (H120)	12b
1848	La Captive Version V (H60E): for contralto or mezzo-soprano and orchestra, in E major First performance: 29 June 1848, London, Berlioz conducting (with Pauline Viardot) Version VI (H60F): for contralto or mezzo-soprano and orchestra, in D major First performance: 29 October 1848, Versailles, Berlioz conducting See 1832 for Version I	13
1848	La Mort d’Ophélie Ballade Version II (H92B): for female chorus and orchestra See 1842 for Version I See also 1851 under Tristia (119B)	12b
1848-1849	Te Deum (H118) revised 1852 and 1855 First performance: 30 April 1855, Église Saint-Eustache, Berlioz conducting See Self-borrowings	10
1849	Méditation religieuse Version II (H56B): for chorus and orchestra See 1831 for Version I See also 1851 under Tristia (119B)	12b
1849	Tristia Version I (H119A): Collection of two works for chorus and piano, issued as Œuvre 18: Méditation religieuse (H56 – see 1831) [reduction for chorus, violin, cello and piano by Mlle Matteman], La Mort d’Ophélie (H92A – see 1842) See 1851 for Version II of Tristia
before November 1849	Adieu Bessy (No. 8 of Neuf Mélodies [H38 – see 1829]) Version II (H46B): in G	15
before November 1849	Sara la baigneuse Version III (H69C): for three choruses and orchestra First performance: 22 October 1850, Salle Ste-Cécile, Berlioz conducting See 1834 for Version I	12a
before November 1849	Le Chant des Bretons Version II (H71B): for chorus or tenor solo and piano First performance: Late March or early April 1853, École Chevé, Paris See 1835 for Version I See also 1850, under Fleurs des landes (H124)	14
before November 1849	Vox Populi (H120) Collection of two works for orchestra and chorus, first issued in vocal score as Œuvre 20: Hymne à la France (H97 – see 1844) and La Menace des Francs (H117 – see 1848)	12b
1850	Les Champs Romance Version II (H67B) See 1834 for Version I See also 1850 below, under Feuillets d’album (H121)	15
September 1850	Feuillets d’album (H121) Collection of three works, issued as Œuvre 19: See: Zaïde (H107B – see 1845), Les Champs (H67B – see 1850 above), Chant des Chemins de Fer (H110 – see 1846) Later listings of his works by Berlioz include in this collection La Belle Isabeau (H94 – see 1843), Le Chasseur danois (H104 – see 1844), and Prière du matin (H112 – see 1846)
1850	Fleurs des landes (H124) Collection of five mélodies, issued as Œuvre 13: Le Matin (H125), romance for voice and piano Petit Oiseau (H126), Chanson de paysan, for voice and piano Le Trébuchet (H113 – see 1846) Le Jeune Pâtre breton (H65C – see 1833) Le Chant des Bretons (H71B – see 1849)	14 and 15
1850	La Fuite en Égypte (H128) Mystère en style ancien First performance: Adieu des bergers, attributed to Pierre Ducré: 12 November 1850, Salle Ste.-Cécile, Berlioz conducting Le Repos de la Sainte Famille: 3 May 1853, London, Berlioz conducting Complete work: 1 December 1853, Leipzig, Berlioz conducting This became part II of L’Enfance du Christ (H130 – see 1854)	11
before March 1851	La Belle Voyageuse Ballade (No. 4 of Neuf Mélodies [H38 – see 1829]) Version IV (H42D): for female chorus and orchestra First performance: 25 March 1851, Salle Ste.-Cécile, Berlioz conducting	13
1851	Tristia Version II (H119B): Collection of three works for chorus and orchestra, issued as Œuvre 18: Méditation religieuse (H56B – see 1849), La Mort d’Ophélie (H92B – see 1848), Marche funèbre pour la dernière scène d’Hamlet (H103 – see 1844) See 1849 for Version I	12b
before July 1854	L’Impériale (H129) Cantate à deux chœurs For double chorus and orchestra First performance: 15 November 1855, Palais de l’Industrie, Berlioz conducting See Self-borrowings	12b
1853-1854	L’Enfance du Christ (H130) Trilogie sacrée (Incorporating La Fuite en Égypte [H128 – see 1850]) First performance: 10 December 1854, Salle Herz, Berlioz conducting	11
1855	Le Retour à la vie Version II (H55B): Lélio, ou le retour à la vie First performance: 21 February 1855, Weimar (in German translation), Berlioz conducting See 1831 for Version I	7
1856	Version II (H81B) for voice and orchestra of 5 songs from Les Nuits d’été (H81A – see 1840-1841): No. 1 Villanelle (H82B) No. 2 Le Spectre de la rose (H83B – between 1855-1856); first performance: 6 February 1856, Berlioz conducting No. 3 Sur les Lagunes (H84B) No. 5 Au Cimetière (H86B), Clair de lune No. 6 L’Île inconnue (H87B), Barcarolle See 1843 for No. 4 Absence (H85B)	13
1856-1858, 1859-1861, 1863	Les Troyens (H133) Opéra en cinq actes Libretto by Berlioz, after Virgil First performance (Acts 3, 4 and 5 only [Les Troyens à Carthage], in truncated form): 4 November 1863, Théâtre-Lyrique Impérial, Deloffre conducting First performance (complete opera): 6 December 1890, Großherzogliches Hoftheater in Karlsruhe, Felix Mottl conducting First complete performance in Paris: 11 October 2003, Théâtre du Châtelet, John Eliot Gardiner conducting See also 1864 under Marche troyenne (H133B) and Self-borrowings	2a-c
before April 1859	Plaisir d’amour (H134) Arrangement: music by J.-P.-E. Martini For voice and small orchestra First performance: 23 April 1859, Opéra-Comique, Berlioz conducting	22b
September to November 1859	Orphée (not in Holoman) Arrangement with a French libretto of Gluck’s opera, based on the Italian version of 1762 and the French version of 1774 First performance: 18 November 1859, Théâtre Lyrique, with Pauline Viardot in the title role	22a
before October 1859	Hymne pour la consécration du nouveau tabernacle (H135) For chorus and organ or piano	14
1860	Le Roi des aulnes (H136) Arrangement: orchestration of music by Schubert (Erlkönig) First performance: 27 August 1860, Baden-Baden, Berlioz conducting	22b
before February 1861	Le Temple universel Version I (H137A): for two choruses and organ See 1867-1868 for Version II	14
1860-1862	Béatrice et Bénédict (H138) Opéra imité de Shakespeare Libretto by Berlioz, after Shakespeare First performance (complete): 9 August 1862, Hoftheater, Baden-Baden, Berlioz conducting See Self-borrowings	3
September to October 1861, July to October 1866	Alceste (not in Holoman) Arrangement with a French libretto of Gluck’s opera, based on the Italian version of 1767 and the French version of 1776 First performance: 21 October 1861, Paris Opéra, with Pauline Viardot in the title role 1866 production, first performed on 14 October 1866, Paris Opéra	22a
1863 (date of compilation)	Collection de 32 Mélodies (H139): Villanelle (H82A – see 1840-1841) Le Spectre de la rose (H83B, reduction – see 1840-1841) Sur les Lagunes. Lamento (H84A – see 1840-1841) Absence (H85A – see 1840-1841) Au Cimetière. Claire de lune (H86B, reduction – see 1840-1841) L’Île inconnue. Mélodie (H87A – see 1840-1841) Le Coucher du soleil (H39 – see 1829) Hélène (H40A – see 1829) Chant guerrier (H41 – see 1829) La Belle Voyageuse (H42A – see 1829) Chanson à boire (H43 – see 1829) Chant sacré (H44A – see 1829) L’Origine de la harpe (H45 – see 1829) Adieu Bessy. Romance (H46A – see 1829) Elégie [en prose] (H47 – see 1829) Hymne à la France. Solo et chœur (H97, reduction – see 1844) La Menace des Francs. Marche et chœur (H117, reduction – see 1848) La Captive. Rêverie (H60F, reduction – see 1848) Sara la baigneuse. Ballade à deux voix (H69C, reduction – see 1849) Tristia. Méditation religieuse (H56B, reduction – see 1849) La Mort d’Ophélie. Ballade (H92B, reduction – see 1848) Le Matin. Romance (H125 – see 1850) Petit Oiseau. Chanson de paysan (H126 – see 1850) Le Trébuchet. Scherzo à deux voix (H113 – see 1846) Le Jeune Pâtre breton. Romance (H65C – see 1834) Le Chant des Bretons. Chœur (H71B – see 1849) Zaïde. Boléro (H107B, reduction – see 1845) Les Champs. Aubade (H67B – see 1850) Chant des Chemins de Fer. Solo et chœur (H110, reduction – see 1846) Chœur d’Enfants. Prière du matin (H112 – see 1846) Le Chasseur danois. Chant pour voix de basse (H104A – see 1844) La Belle Isabeau. Conte pendant l’orage (H94 – see 1843)	14 and 15
1864	Marche troyenne (H133B) Concert arrangement of music from Les Troyens (H133A – see 1856-1858)	21
ca.1867-1868	Le Temple universel Version II (H137B): for unaccompanied chorus See 1861 for Version I	14
between 1861-1868	Veni creator (H141) Motet à 3 parties sans accompagnement For women’s voices	14
between 1861-1868	Tantum ergo (H142) Solo et chœur pour voix de soprano et contralto For women’s voices and organ	14
between 1861-1868	Invitation à louer Dieu (H143) Air de Couperin mis à 3 voix égales avec accompagnement Arrangement: music by Couperin For women’s voices and organ	22b

II. Works written but partially or completely lost

Date of composition	Title
ca. 1816	Arrangements of duets as trios and quartets See Memoirs, chapter 4 Lost
1817-1819	Pot-pourri concertant sur des thèmes italiens (H1) For flute, horn and strings See Memoirs, chapter 4 Two quintets (H2, H3) For flute and strings See Memoirs, chapter 4 Romances (H4) For voice and piano Lost Je vais donc quitter pour jamais (H6) For voice, guitar or piano to a text by Florian Used in the opening theme of the first movement of the Symphonie Fantastique (bars 3-16 and 27-42); cf. Memoirs, chapter 4
1822	Le Cheval arabe (H12) Cantata after C.-H. Millevoye Canon à 3 voix (H13) Both works, now lost, were presented to Lesueur when Berlioz first met him
1823	Estelle et Némorin (H17; Serna p. 191-3) Opera, libretto by Gerono It may have included Je vais donc quitter pour jamais (H6) Lost
Winter 1823-1824	Le Passage de la mer Rouge (H18) Oratorio with Latin text Lost
1823-1824	Beverley, ou le joueur (H19) Dramatic scene to a text by B.-J. Saurin Lost [see NBE 21 pp. X and 83]
1825-1826	Les Francs-Juges (H23) Opera in about 15 movements, libretto by Humbert Ferrand Revised 1829 The overture, four movements and fragments of other movements have been preserved See Table I, 1825-1826
July 1827	Fugue (H24) Submitted for the Prix de Rome competition Lost
before May 1828	Marche religieuse des Mages (H27) Performed on 26 March 1828, Salle du Conservatoire Perhaps later reused for the Quartetto et coro dei maggi (H59 – see Table I, 1832) Lost
July 1828	Fugue (H28) Submitted for the Prix de Rome competition Lost
ca.1828	Là ci darem la mano (H30) Variations for guitar on the theme from Mozart’s Don Giovanni Lost
1828-1829	Salutaris (H32) For three voices and organ or piano Lost
1829	Chanson des pirates (H34) Text from Victor Hugo’s Orientales Perhaps reused in the Scène de brigands, third movement of Le Retour à la vie (H55 – see Table I, 1831) Lost
July 1830	Fugue (H49) Submitted for the Prix de Rome competition Lost
1830	La Mort de Sardanapale (H50) Prix de Rome cantata Fragments (197 bars) have survived, published in NBE vol. 6 See Table I, 1830
1831	Méditation religieuse Version I (H56A – see Table I, 1831): for chorus and 7 wind instruments Lost Version II, for chorus and orchestra, is extant: see Table I, 1849
September 1831	Chœur (H57) Text by Berlioz Lost
Late 1831	Chœur d’anges (H58) Lost
1831-1833	Le Dernier Jour du monde (H61) Oratorio based on a scenario by Berlioz Perhaps abandoned in favour of later projects like the Requiem (H75 – Table I, 1837) Lost
1833	La Chasse de Lützow (H63) Arrangement: music by Weber For male voices, strings and piano Performed on 6 June and 24 November 1833 Lost
1833	Romance de Marie Tudor (H66) For bass and piano, text by Victor Hugo Performed on 22 December 1833 Lost
before November 1834	La Belle Voyageuse Version II (H42B): for male quartet and orchestra Performed on 9 November 1834, Salle du Conservatoire, Girard conducting; Berlioz may have been one of the singers Lost See Table I, 1829 for Version I (extant)
before November 1834	La Captive Version IV (H60D): for soprano and orchestra Performed on 23 November 1834, Salle du Conservatoire, Girard conducting Lost See Table I, 1832 for the other versions (extant)
before November 1834	Le Jeune Paysan breton (H65B) Version II: for soprano and orchestra Performed on 23 November 1834, Salle du Conservatoire, Girard conducting Lost See Table I, 1833 for the other versions (extant)
1834	Sara la baigneuse Ballade Version I (H69A): for male quartet and orchestra Performed on 9 November 1834, Salle du Conservatoire, Girard conducting Lost See 1838 below for Version II (lost) and Table I, 1849 for the extant version (III)
1835	Fête musicale funèbre (H72) 2 out of 7 movements were completed; a performance planned for 22 November 1835 was cancelled; The work was perhaps a further development of Le Dernier Jour du monde (H 61) and the Retour de l’armée d’Italie (H 62 – Table V), and was later integrated in LeCinq Mai (H74 – Table I, 1835), the Requiem (H75 – Table I, 1837) and the Symphonie funèbre et triomphale (H80A – Table I, 1840) Lost
before March 1838	Sara la baigneuse (H69B) Ballade Version II: for mixed-voice quartet, chorus and orchestra Performed on 13 December 1840, Salle du Conservatoire, Berlioz conducting Lost See above, 1834
1844	Chant sacré (H44C) Version III: for 6 wind instruments invented or built by Sax and orchestra Performed on 3 February 1844, Salle Herz, Berlioz conducting Lost See Table I, 1829 (Neuf Mélodies) and 1843 for the extant versions
1844	Scène de la comédie [act III, scene 2] (H102) One of three movements intended as incidental music for a production of Hamlet at the Odéon Theatre, in Léon de Wailly’s translation of the play The other two were based on La Mort d’Ophélie (H92 – Table I, 1842) and the Marche funèbre pour la dernière scène d’Hamlet (H103 – Table I, 1844), but this piece may never have been composed (thus Kern Holoman, p. 264)
before December 1846	Marche d’Isly (H108) Arrangement: orchestration of music by Léopold de Meyer First performance: 2 October 1846, New York, George Loder conducting A manuscript of the score in the hand of Berlioz’s copyist Rocquemont is extant; the ascription of the orchestration to Berlioz is thought possible by Holoman (p. 274), but rejected without argument in NBE vol. 22 p. viii n. 3. The arrangement by Berlioz certainly existed; it is not clear that the extant manuscript is of that arrangement. See also Table I and the remarks by P.-R. Serna on this site.
1848	Chant du départ (H115) Arrangement: music by Méhul, text by Chénier Mourons pour la patrie (116) Arrangement: music and text by Rouget de Lisle Both were patriotic works for soloists and chorus, and were to be published by Beale in London If written, both are lost
1853	Marche pour la musique des Guides (not in Holoman) March for the imperial band of the Guides, commissioned for the celebration of Napoleon III’s wedding on 30 January but not performed; mentioned in a letter to Liszt of 23 February (CG no. 1568) Lost, though the music may have provided material for the Trojan March in Les Troyens

III. Unfinished works

Date of composition	Title and description
1831-1833	Le Dernier Jour du monde (H61 and Serna p. 198-200) Oratorio based on a scenario by Berlioz Perhaps abandoned in favour of later projects like the Requiem (H75 – Table I, 1837) Lost
1833-1834	Le Cri de guerre du Brisgaw (H23C) Incomplete intermezzo in one act based on Les Francs-Juges (H23 – Table I, 1825-1826) (Libretto in NBE, vol. 4, Appendix II pp. 333-6)
1835	Fête musicale funèbre (H72) 2 out of 7 movements were completed; a performance planned for 22 November 1835 was cancelled; The work was perhaps a further development of Le Dernier Jour du monde (H 61) and the Retour de l’armée d’Italie (H 62 – Table V), and was later integrated in LeCinq Mai (H74 – Table I, 1835), the Requiem (H75 – Table I, 1837) and the Symphonie funèbre et triomphale (H80A – Table I, 1840) Lost
1835-1839	Érigone (H77) Intermède antique, text after P. S. Ballanche The manuscript libretto and fragments of an autograph score, dating from 1838-1839, have been preserved [see NBE 21 pp. X-XI and 85-92]
1841-1842	La Nonne sanglante (H91 and Serna p. 203-4) Incomplete opera Libretto by Eugène Scribe; abandoned about 1844, briefly re-examined in 1847; libretto assigned to Gounod in 1853 Two complete movements, and significant fragments of some other movements have been preserved; they are published in NBE 4
1848	Chant du départ (H115) Arrangement: music by Méhul, text by Chénier Mourons pour la patrie (116) Arrangement: music and text by Rouget de Lisle Both were patriotic works for soloists and chorus, and were to be published by Beale in London If written, both are lost
1866	Armide (not in Holoman) Arrangement with a French libretto of Gluck’s opera, for a production at the Théâtre-Lyrique with Mme Charton-Demeur in the title role; the project was abandoned (cf. CG nos. 3083, 3092, 3110)

IV. Works planned but not written

Date	Title
ca. 1823?	Les Noces d’or d’Obéron et de Titania Opera or cantata, to a libretto by Humbert Ferrand Serna p. 193 and his article on this site; dates the project to 1823 against Holoman p. 423 who places it ca. 1832 (see below)
ca. 1826	La Mort d’Hercule Opera in three acts, to a libretto possibly by Stéphen de La Madelaine Holoman p. 422; Serna p. 194-5
1826-1827	Richard en Palestine Opéra-comique after The Talisman by Scott, to a libretto by Léon Compaignon Holoman p. 422; Serna p. 194
1826-1828	Robin-Hood Opera, to a libretto by Humbert Ferrand Holoman p. 423; Serna p. 195
1828	Virginius (not in Holoman) Opera, based on Livy (cf. CG no. 94) Serna p. 197
1828-1830	Atala Opera, after Chateaubriand to a libretto by an unknown author Holoman p. 423; Serna p. 198
1829	Lara (not in Holoman) Opera, on a libretto by Stéphen de La Madelaine (cf. CG no. 123) Serna p. 198
1830	Othello (not in Holoman) Opera, on a libretto by Rouget de Lisle (cf. Memoirs ch. 29 and CG nos. 196, 198) Serna p. 198
ca. 1832?	Les Noces des fées Opera or cantata, to a libretto by Humbert Ferrand Holoman p. 423; but see above under ca. 1823
1832	An opera on a libretto by Eugène Süe (not in Holoman; cf. CG no. 293, 314) Serna p. 200
1833	An opera, not identified (not in Holoman; cf. CG no. 314) Serna p. 201
1833	Les Brigands Dramatic scene, after Die Räuber by Schiller, to a libretto initially by Thomas Gounet, then by J.-N. Brouilly Holoman p. 423; Serna p. 201
1834	"A large opera in 3 acts on a historical subject that had not yet been treated", on a libretto by Léon de Wailly (not in Holoman; cf. CG no. 408) Serna p. 203
1834, 1844	Hamlet Opera, after Shakespeare, to a libretto by Léon de Wailly Holoman p. 424; Serna p. 201-2
1838	Settings of verses by Édouard Turquety Holoman p. 424
1843	Plainchants de l’Église grecque Arrangements for 16-part chorus Holoman p. 424
ca. 1847	Méphistophélès Opera, incorporating La Damnation de Faust (H111 – see Table I, 1846), with additional libretto by Scribe Holoman p. 424; Serna p. 195-7
1847	An opera in 3 acts, to a libretto written in French by Alphonse Royer and Vaës, for the 1848-1849 season of the Drury Lane Theatre in London Holoman p. 425; Serna p. 204
1847	God Save the Queen Arrangement of the British national anthem for the opening night of Jullien ’s season in London Holoman p. 425
1850	Music to a text by Humbert Ferrand Holoman p. 425
1851	Jeanne d’Arc Setting to music of a series of poems by the Abbé Arnaud, Canon of Poitiers Holoman p. 425
ca. 1852	Symphony in A minor Berlioz dreamed of this work for two consecutive nights but resisted the temptation to write it (see Memoirs, chapter 59, where he describes this episode) Holoman p. 426
1858-1860	An Opera on the Thirty Years’ War To a libretto by Édouard Plouvier, to fulfil Bénazet’s commission for Baden-Baden The project was later abandoned in favour of Béatrice et Bénédict (H138 – see Table I, 1860-1862) Holoman p. 427; Serna p. 207
1859	Roméo et Juliette An opera after Shakespeare Apparently suggested to Berlioz by Princess Carolyne Sayn-Wittgenstein; he had previously thought of the possibility, but declined (CG no. 2361). Another suggestion was an opera on Christopher Columbus (ib.) Holoman p. 426; Serna p. 205-6
1859	Cléopâtre An opera after Shakespeare Also suggested to Berlioz by Princess Carolyne Sayn-Wittgenstein; Berlioz was initially attracted by the idea (cf. CG nos. 2423, 2430, 2442, 2449), but did not follow it up Holoman p. 426; Serna p. 207-8
1862	Salammbô An opera based on Flaubert’s novel Serna p. 209
1865	"A vast symphonic poem", which Berlioz declared he would like to write for Estelle Fornier: "only through the medium of the orchestra" would he be "able to express what he feels" (CG no. 3002)

V. Sketches and albumleaves

Date of composition	Title and description	NBE volume
1832-1836	Sketchbook of 1832-36 (H62), includes sketches for: Dans l’alcôve sombre, to a text by Hugo Le Retour de l’armée d’Italie, symphonie militaire en 2 parties Harold en Italie (H68 – see Table I, 1834) La Captive (H60D – see Table II, 1834) Benvenuto Cellini (H 76 – see Table I, 1838), including Chansonette de M. Léon de Wailly (H73 – see Table I, 1835)	See 21, pp. X and 83-4
1836	Albumleaf in B flat major	21, pp. XI, 93, 171
1842-1848	Souvenirs – Bêtises – Improvisations (H93) Album kept by Berlioz on his concert tours, 1842-1848, with some 20 citations from Berlioz’s works, three of them original	21, pp. XI, 94-5, 172
1844	Albumleaf (H96) Andantino in E major for keyboard	21, pp. XI, 95, 173
1845	Le Vent gémit (H106) Sérénade, text by Méry Albumleaf	21, pp. XI and 96
1847	Nessun maggior piacere (H114) Albumleaf	15
1851	Albumleaf, Je resterai	21, pp. XI and 96
1852	Albumleaf for Édouard Silas (H127), 2 bars	21, pp. XI and 97 [also NBE 25, p. 323]
1855	Valse chantée par le vent dans les cheminées d’un de mes châteaux en Espagne (H131) Albumleaf	21, pp. XI and 97 (beginning only)
ca. 1855-1856	Au bord d’une rivière (H132), 26 bars Exercise on an experimental scale	21, pp. XI and 93
1861	Albumleaf in G major, 4 bars	21, pp. XI-XII and 97
1868	Albumleaf in C major, 5 bars	21, pp. XII and 97
1868	Albumleaf in G minor, 10 bars	21, pp. XII, 97, 173
date?	Albumleaf in F major, 2 1/2 bars	21, pp. XII and 97
date?	Double albumleaf, C major and C minor, 4 + 4 bars	21, pp. XII and 97
date?	Salut matinal (H140) Improvisé en langue et en musique kanaques Albumleaf Reproduced in Jacques Barzun, New Letters of Berlioz 1830-1868 (New York, 1954), facing p. 43	21, pp. XII and 97

VI. Works of disputed authenticity

ca. 1818-1820	A book of 56 pieces for guitar and 32 romances with guitar accompaniment, in different handwritings, from the Berlioz family house in La Côte-Saint-André (not in Holoman) According to Hugh Macdonald none of the handwritings is that of Berlioz, and there is no proof that any of the pieces were actually composed by him (source: our personal communication) Note: these are distinct from the 25 songs (H8) for which the young Berlioz wrote guitar accompaniments – see Table I, 1819-1822	not included in NBE
before September 1850	Chant des chérubins (H122) Arrangement (?): music by Bortniansky Latin text possibly by Berlioz First performance: 22 October 1850, Salle Ste-Cécile, Berlioz conducting	not included in NBE
before September 1850	Pater noster (H123) Arrangement (?): music by Bortniansky Latin text by possibly Berlioz First performance: 28 January 1851, Salle Ste-Cécile, Berlioz conducting	not included in NBE

VII. Related pages

Berlioz and his music: self-borrowings

Berlioz Biography

Berlioz Libretti

Berlioz: Musical and Literary Works (contains a detailed listing of the contents of the New Berlioz Edition)

Berlioz Music Scores

Berlioz Discography

The Hector Berlioz Website was created by Monir Tayeb and Michel Austin on 18 July 1997;
Berlioz: A Listing of his Musical Works created on 1 August 2005, revised 1 September 2005 and 15 April 2006.

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