Mats Norman wrote:

>Interesting you should mention Berlioz.  He never won much acclaima as
>composer in his own time (but much reknown as critic).

He won much acclaim for his music during his lifetime - but not in La Belle
France.  His music (and conducting) was highly valued in Russia, Germany,
Austria and England.

>Had he composed brahmsian Academic Ouvertures perhaps he might have
>won more respect as composer in his time.

When he composed the "Shepherds' Farewell" part of "l'Enfance du Christ,"
he attributed it to a 1679 manuscript written by one (fictitious) Pierre
Ducre.  To his great satisfaction, a number of critics suggested that
Berlioz could learn a thing or two from 'Monsieur Ducre'.

>I want to remind you about the work of which himself though "This surpasses
>everything ever composed before (by anyone)": und zwar the opera "Les
>Troyenes".

Berlioz could never be accused of being modest in evaluating his own works,
but I do not think he went as far as you indicate above.  He did say that
if he had to give up all his works but one, that one would be the Requiem.

In his monumental two volume "Berlioz," David Cairns says:  "It (Les
Troyens) unites the electric energy of the Fantastic, the tragic visions
of the Requiem, the sadness and sensuous beauty of Romeo and Juliet, the
massive grandeur of the Te Deum, the archaic simplicity and sweetness of
The Childhood of Christ, the refinement of Les Nuits d'Ete.  It is his
greatest score and his most daring and eventful - a conscious summing-up
and reaching out into new regions." (Vol.  2, "Servitude and Greatness," p.
598)

Gene Halaburt