"If [Berlioz's] capacity for grief, for regret, had not been so cruelly sharpened, his music might not be what it is. Sadness, suffering mark many of his most characteristic utterances." Over Christmas and New Year, I read the second 900-page volume of David Cairns' biography. It's brought on another of my Berlioz binges, with the usual symptoms of nerves and exaltation. Cairns' insights revealed new relationships between Berlioz' later works, and deepened my understanding of works I thought over-familiar. A Berlioz festival began at London's Barbican Hall last month and runs through 2000, with Sir Colin Davis conducting the London Symphony Orchestra. My binge began with "L'Enfance du Christ", sweeter than a sackful of Nativity cribs, and I'll swoon to "Romeo & Juliette" next week. Meanwhile, I wish to draw your attention to a wonderful new feature on the Berlioz Society Website: http://www.standrews.u-net.com/BerliozScores.html After downloading the Sibelius "Scorch" plug-in software, you can listen to midi extracts of Berlioz' music while the score scrolls on your screen! Extracts so far include: Ballet des Sylphes, from La Damnation de Faust Prelude, from the Te Deum Trio for 2 flutes and harp, from L'Enfance du Christ (sounding crisper than on most recordings) Marche Funebre pour la derniere scene d'Hamlet, from Tristia, no.3 Are the flutes in the Trio too piercing? "Scorch" will even let you transpose the score and the pitch.. James Kearney [log in to unmask]