Harold in Italy, Op. 16
Hector Berlioz
Work background
Researched classical background
Berlioz's Harold in Italy places a recurring viola theme within four orchestral scenes. Paganini had asked for a work featuring his viola, but Berlioz made the soloist more of an observer than a continuously dominant virtuoso. Byron's wandering Harold and Berlioz's memories of Italy informed the conception. The surrounding scenes change character while the viola maintains a recognizably individual voice.
Inspiration and creative background
Paganini's request, Byron's Childe Harold, and Berlioz's Italian experiences are documented parts of the work's genesis.
Harold in Italy - LA Phil
Work identity, chronology where stated, and the specific musical or historical context summarized in this entry. | Reviewed 2026-10-19
A listening guide
Listen for the viola's recurring theme and compare its relative calm with the increasingly animated orchestral scenes.
Listening suggestions are editorial guides to the music.
Forces: Solo viola and orchestra
Composition: 1834
Paganini's request prompted the project, but the resulting viola role differs from a conventional virtuoso concerto.
This entry describes the musical work or cycle. Composition, premiere and publication dates describe different events. Performers and recordings can be explored through the external listening search.
Also known as: Harold en Italie
Harold in Italy - LA Phil
Work identity, chronology where stated, and the specific musical or historical context summarized in this entry. | Reviewed 2026-10-19
Sources for this work
Harold in Italy - LA Phil
Work identity, chronology where stated, and the specific musical or historical context summarized in this entry. | Reviewed 2026-10-19
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