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Updated: June 5, 2025
In 1847 Berlioz went to Russia and to England for the first time. In 1849 he began work on his "Te Deum"; in 1850 on "L'Enfance du Christ." The next years were spent in conducting. In 1854, on the death of his wife, he married Mlle. Récio. In 1856 we find Berlioz in North Germany, Brussels and London. He began the composition of "Les Troyens" the same year.
Philip asked to see her, knowing it would please Amabel, and in she came a long, thin, nine-year-old child, just grown into the encumbering shyness, that is by no means one of the graces of "la vieillesse de l'enfance". He wished to be kind and encouraging; but melancholy, added to his natural stateliness, made him very formidable; and poor Marianne was capable of nothing beyond 'yes' or 'no.
Her heart beat violently and she heard all the birds in the hedge-row sing: "Cui, cui, cui, Oui, oui, oui, Georges de Blanchelande, Cui, cui, cui. Dont vous avez nourri l'enfance Cui, cui, cui, Est ici, est ici, est ici! Oui, oui, oui." Francoeur approached her respectfully and said: "Your Grace, George de Blanchelande whom you thought dead has returned. I shall make it into a song."
Her important works are in part the illustrations of "The Little Princess," "The Magic Grammar," "La Belle Dame sans Merci," "L'Evangile de l'Enfance," "The Romance of the Swan's Nest," etc. She also makes exquisite designs for book-covers, which have the spirit of the book for which they are made so clearly indicated that they add to the meaning as well as to the beauty of the book.
It is the strongest, the bitterest, the truest feeling he has. No musician since old Roland de Lassus has feared it with that intensity. Do you remember Herod's sleepless nights in L'Enfance du Christ, or Faust's soliloquy, or the anguish of Cassandra, or the burial of Juliette? through all this you will find the whispered fear of annihilation.
Berlioz was disheartened. Life had conquered him. It was not that he had lost any of his artistic mastery; on the contrary, his compositions became more and more finished; and nothing in his earlier work attained the pure beauty of some of the pages of L'Enfance du Christ (1850-4), or of Les Troyens (1855-63). But he was losing his power; and his intense feeling, his revolutionary ideas, and his inspiration (which in his youth had taken the place of the confidence he lacked) were failing him. He now lived on the past the Huit scènes de Faust held the germs of La Damnation de Faust ; since 1833, he had been thinking of Béatrice et Bénédict ; the ideas in Les Troyens were inspired by his childish worship of Virgil, and had been with him all his life. But with what difficulty he now finished his task! He had only taken seven months to write Roméo, and "on account of not being able to write the Requiem fast enough, he had adopted a kind of musical shorthand"; but he took seven or eight years to write Les Troyens, alternating between moods of enthusiasm and disgust, and feeling indifference and doubt about his work. He groped his way hesitatingly and unsteadily; he hardly understood what he was doing. He admired the more mediocre pages of his work: the scene of the Laocoon, the finale of the last act of the Les Troyens
The Conservatoire, which was formerly more hospitable, rather reluctantly performed a portion of L'Enfance du Christ; but it gave young composers no encouragement. There he had performed Mendelssohn's Symphonie Italienne, the overtures to Tannhäuser and Manfred, Berlioz's Fuite en Égypte, and Gounod's and Bizet's early, works. But lack of money cut short his efforts. Pasdeloup took up the work.
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