白辽士(1803～1869年)
Berlioz, (Louis-) Hector
法国作曲家。早年学习吉他，但经过一番奋斗後才获准认真学习音乐。1830年二十七岁时以疯狂的迷恋写成《幻想交响曲》，初演时就引起轰动，成为浪漫时期的里程碑之作。他是个才华横溢的指挥，对於管弦乐的知识无人匹敌。他冲动而热情，是个好争论的评论家，不断地像牛虻那样挑战音乐界的成规。虽然他是当时最受人惊叹的法国音乐人物，但特异的作曲风格几乎使他所有的音乐作品在20世纪中叶之前都被排除在节目单外。作品包括《本维努托.契里尼》（1837）、《特洛伊人》（1858）和《比阿特丽斯和培尼狄克》（1862）；交响曲《哈罗德在义大利》（1834）和《罗密欧与茱丽叶》（1839）；合唱《安魂曲》（1837）、《浮士德的天谴》（1846）、《颂歌》（1849）和《基督的童年》（1854）。他的着作《配器法》（1843）是当时这类着作中最具影响力的，他的回忆录（1870）也广被人阅读。
English version：
1803～1869年
Berlioz, (Louis-) Hector
French composer. He studied guitar in his early years, but had to fight to be permitted to study music seriously. His Symphonie fantastique (1830), written at 27 in the frenzy of an infatuation, had a stormy premiere and became a landmark of the Romantic era. He became a brilliant conductor, with an unsurpassed knowledge of the orchestra. Impulsive and passionate, he was a contentious critic and gadfly constantly at war with the musical establishment. Though he was the most compelling French musical figure of his time, his idiosyncratic compositional style kept almost all his music out of the repertory until the mid-20th century. His works include the operas Benvenuto Cellini (1837), Les Troyens (1858), and Béatrice et Bénédict (1862); the program symphonies Harold in Italy (1834) and Romeo and Juliet (1839); and the choral Requiem (1837), La damnation de Faust (1846), Te Deum (1849), and L'enfance du Christ (1854). His orchestration treatise (1843) is the most influential such work ever written, and his memoirs (1870) were widely read.