H. Kling, ‘Le grand traité d'instrumentation et d'orchestration modernes’, in Le livre d'Or du centenaire d'Hector Berlioz (Paris, [1903]), pp. 122–4

Camille Saint-Saëns, Portraits et Souvenirs (Paris, 1909), pp. 4–6

Ernest, Closson, ‘Richard Strauss et le Traité d'orchestration d'Hector Berlioz’, Le guide musical, 55 (1909), pp. 591–4, 607–11Google Scholar

Hans Bartenstein, Hector Berlioz's Instrumentationskunst und ihre geschichtlichen Grundlagen: ein Beitrag zur Geschichte des Orchesters (Strasbourg, 1939); 2nd, expanded, edn (Baden-Baden, 1974)

Edward, Lockspeiser, ‘The Berlioz–Strauss treatise on instrumentation’, Music and Letters, 50/1 (1969), pp. 37–44Google Scholar

Joseph-Marc Bailbé, ‘L'orchestre et Le traité d'orchestration’, in Berlioz artiste et écrivain dans les ‘mémoires’ (Paris, 1972), pp. 87–104

Frédéric de La Grandville, Recueil complémentaire des exemples d'orchestration cités dans le texte du grand traité d'instrumentation d'Hector Berlioz (Faculté des Lettres et Sciences humaines, Reims, 1978)

Alastair, Bruce, ‘Berlioz's treatise on instrumentation’, Berlioz Society Bulletin, 104 (Summer 1979), pp. 2–13Google Scholar

Joël-Marie Fauquet, ‘The Grand Traité d'instrumentation’, in The Cambridge Companion to Berlioz, ed. Peter Bloom (Cambridge, 2000), pp. 164–70

H. Lavoix fils, Histoire de l'instrumentation depuis le seizième siècle jusqu’à nos jours (Paris, 1878)

Adam Carse, The History of Orchestration (London, 1925)

Tom S. Wotton, ‘Orchestration’, in Hector Berlioz (London, 1935), pp. 99–121

Adam Carse, The Orchestra from Beethoven to Berlioz (Cambridge, 1948)

Jacques Barzun, ‘Structure and harmony through timbre’, in Berlioz and the Romantic Century (2 vols, Boston, 1950), 1, pp. 448–69

Hugh, MacDonald, ‘Berlioz's orchestration: human or divine?’, Musical Times, 110 (1969), pp. 255–8Google Scholar

Pierre Boulez, ‘L'imaginaire chez Berlioz’, in Points de répère (Paris, 1981), pp. 239–47; published in English as ‘Berlioz and the realm of the imaginary’, High Fidelity Magazine, 19/3 (1969), pp. 47–54

Benjamin Perl, ‘L'orchestre dans les opéras de Berlioz’ (thesis, Ecole Pratique des Hautes Etudes, 1983)

Performance Practice: Music After 1600, ed. Howard Mayer Brown and Stanley Sadie (London, 1989)

Joël-Marie Fauquet, ‘L'innovation instrumentale devant l'Académie (1803–1851)’, in Musique et médiations, ed. Dufont et Fauquet (Paris, 1994), pp. 197–249

Philip James Bone, The Guitar and Mandolin (London, 1914), pp. 36–40

Joseph, Zuth, ‘Die Gitarre des Berlioz’, Zeitschrift für die Gitarre, 1 (1922), pp. 8–11Google Scholar

Victor, Kolon, ‘Die Pariser Gitarre von Paganini–Berlioz’, Zeitschrift für die Gitarre, 5 (1926), pp. 50–3Google Scholar

Paul Jerald Dallman, ‘Influence and use of the guitar in the music of Hector Berlioz’ (MMus thesis, University of Maryland, 1972)

Anthony Baines, Woodwind Instruments and their History (London, 1957)

Cecil B. Wilson, ‘Berlioz's use of brass instruments’ (Ph.D. dissertation, Case Western Reserve, 1971)

Hugh, MacDonald, ‘An ophicleide you cannot refuse’, Berlioz Society Bulletin, 101 (1978), pp. 3–5Google Scholar

Jürgen Eppelshein, ‘Berlioz’ “Petit Saxhorn Suraigu”’, in Gesellschaft für Musikforschung. Bericht über den internationalen Musikwissenschaftlichen Kongreβ. Berlin 1974, ed. Hellmut Kühn and Peter Nitsche (Kassel, 1980), pp. 586–91

Anthony Baines, Brass Instruments: Their History and Development (New York, 1981)

Benjamin, Perl, ‘Les cuivres dans les opéras de Berlioz’, Brass Bulletin, 45 (1984), pp. 18–30Google Scholar

Sandor, E. P., ‘Development and use of the chromatic trumpet in the nineteenth century orchestra’, NACWPI Journal, 33/4 (1985), pp. 4–12Google Scholar

Ernest H. Gross Ⅲ, ‘The influence of Berlioz on contemporary nineteenth century use of brass instruments’, Brass Bulletin (in 4 parts): 67/3 (1989), p. 20; 68/4 (1989), p. 34; 69/1 (1990), p. 88; 70/2 (1990), p. 62

Edward, H. Tarr, ‘The romantic trumpet’, Historic Brass Society Journal, 5 (1993), pp. 213–61Google Scholar

Diana, Bickley, ‘The trumpet shall sound’, Historic Brass Society Journal, 6 (1994), pp. 61–83Google Scholar

David, Whitwell, ‘Berlioz – his music for winds’, The Instrumentalist, 20 (1996), pp. 71–5Google Scholar

Batigan, D. Verne, ‘Berlioz versus the organ’, The Organ, 6 (1927), pp. 171–8Google Scholar

Guy, Warrack, ‘Hector, thou sleep'st’, Musical Times, 104 (1963), pp. 896–7Google Scholar

Denis, McCaldin, ‘Berlioz and the organ’, The Organ Yearbook, 4 (1973), pp. 3–17Google Scholar

Geneviève, Duval-Wirth, ‘Berlioz et la voix’, Silex, 17 (1980), pp. 87–94Google Scholar

Tom, S. Wotton, ‘The roll of the drums’, Musical Opinion, 25 (1902), p. 366Google Scholar

Peter Hyde Tanner, ‘Timpani and percussion writing in the works of Hector Berlioz’ (PhD dissertation, Catholic University of America, 1967)

Nancy Benvenga, ‘The use of the percussion in the symphonies of Berlioz’ (typescript, Boston, 1969)

James Blades, Percussion Instruments and their History (London, 1970)

Cecil, B. Wilson, ‘Some remarks about multiple timpani and Berlioz’, The Instrumentalist, 28 (1973), pp. 55–6Google Scholar

John, Crabbe, ‘Hell's bells and Hector Berlioz’, Hi-Fi News and Record Review (1978), pp. 91–3Google Scholar

Nancy, Benvenga, ‘Berlioz and sponge timpani sticks’, Berlioz Society Bulletin, 100 (Summer 1978), pp. 5–9Google Scholar

Michael Paul Matesky, ‘Berlioz on conducting’ (DMA dissertation, University of Washington, 1974)

Elliott, W. Galkin, ‘Berlioz as conductor’, Journal of the American Liszt Society, 9 (1981), pp. 19–30Google Scholar

Donald L. Appert, ‘Berlioz, the conductor’ (DMA dissertation, University of Kansas, 1985)

Michael G. H. Wright, A Berlioz Bibliography (Farnborough, n. d.)

Cecil Hopkinson, A Bibliography of the Musical and Literary Works of Hector Berlioz 1803–1869, 2nd edn, ed. Richard Macnutt (Tunbridge Wells, 1980)

D. Kern Holoman, Catalogue of the Works of Hector Berlioz (Kassel, 1987)

Jeffrey Langford and Jane Denker Graves, Hector Berlioz: a Guide to Research (New York, 1989)

For further sources used in this book, see ‘Abbreviations’ (p. ⅩⅩⅩⅧ)

H. Kling, ‘Le grand traité d'instrumentation et d'orchestration modernes’, in Le livre d'Or du centenaire d'Hector Berlioz (Paris, [1903]), pp. 122–4

Camille Saint-Saëns, Portraits et Souvenirs (Paris, 1909), pp. 4–6

Ernest, Closson, ‘Richard Strauss et le Traité d'orchestration d'Hector Berlioz’, Le guide musical, 55 (1909), pp. 591–4, 607–11Google Scholar

Hans Bartenstein, Hector Berlioz's Instrumentationskunst und ihre geschichtlichen Grundlagen: ein Beitrag zur Geschichte des Orchesters (Strasbourg, 1939); 2nd, expanded, edn (Baden-Baden, 1974)

Edward, Lockspeiser, ‘The Berlioz–Strauss treatise on instrumentation’, Music and Letters, 50/1 (1969), pp. 37–44Google Scholar

Joseph-Marc Bailbé, ‘L'orchestre et Le traité d'orchestration’, in Berlioz artiste et écrivain dans les ‘mémoires’ (Paris, 1972), pp. 87–104

Frédéric de La Grandville, Recueil complémentaire des exemples d'orchestration cités dans le texte du grand traité d'instrumentation d'Hector Berlioz (Faculté des Lettres et Sciences humaines, Reims, 1978)

Alastair, Bruce, ‘Berlioz's treatise on instrumentation’, Berlioz Society Bulletin, 104 (Summer 1979), pp. 2–13Google Scholar

Joël-Marie Fauquet, ‘The Grand Traité d'instrumentation’, in The Cambridge Companion to Berlioz, ed. Peter Bloom (Cambridge, 2000), pp. 164–70

H. Lavoix fils, Histoire de l'instrumentation depuis le seizième siècle jusqu’à nos jours (Paris, 1878)

Adam Carse, The History of Orchestration (London, 1925)

Tom S. Wotton, ‘Orchestration’, in Hector Berlioz (London, 1935), pp. 99–121

Adam Carse, The Orchestra from Beethoven to Berlioz (Cambridge, 1948)

Jacques Barzun, ‘Structure and harmony through timbre’, in Berlioz and the Romantic Century (2 vols, Boston, 1950), 1, pp. 448–69

Hugh, MacDonald, ‘Berlioz's orchestration: human or divine?’, Musical Times, 110 (1969), pp. 255–8Google Scholar

Pierre Boulez, ‘L'imaginaire chez Berlioz’, in Points de répère (Paris, 1981), pp. 239–47; published in English as ‘Berlioz and the realm of the imaginary’, High Fidelity Magazine, 19/3 (1969), pp. 47–54

Benjamin Perl, ‘L'orchestre dans les opéras de Berlioz’ (thesis, Ecole Pratique des Hautes Etudes, 1983)

Performance Practice: Music After 1600, ed. Howard Mayer Brown and Stanley Sadie (London, 1989)

Joël-Marie Fauquet, ‘L'innovation instrumentale devant l'Académie (1803–1851)’, in Musique et médiations, ed. Dufont et Fauquet (Paris, 1994), pp. 197–249

Philip James Bone, The Guitar and Mandolin (London, 1914), pp. 36–40

Joseph, Zuth, ‘Die Gitarre des Berlioz’, Zeitschrift für die Gitarre, 1 (1922), pp. 8–11Google Scholar

Victor, Kolon, ‘Die Pariser Gitarre von Paganini–Berlioz’, Zeitschrift für die Gitarre, 5 (1926), pp. 50–3Google Scholar

Paul Jerald Dallman, ‘Influence and use of the guitar in the music of Hector Berlioz’ (MMus thesis, University of Maryland, 1972)

Anthony Baines, Woodwind Instruments and their History (London, 1957)

Cecil B. Wilson, ‘Berlioz's use of brass instruments’ (Ph.D. dissertation, Case Western Reserve, 1971)

Hugh, MacDonald, ‘An ophicleide you cannot refuse’, Berlioz Society Bulletin, 101 (1978), pp. 3–5Google Scholar

Jürgen Eppelshein, ‘Berlioz’ “Petit Saxhorn Suraigu”’, in Gesellschaft für Musikforschung. Bericht über den internationalen Musikwissenschaftlichen Kongreβ. Berlin 1974, ed. Hellmut Kühn and Peter Nitsche (Kassel, 1980), pp. 586–91

Anthony Baines, Brass Instruments: Their History and Development (New York, 1981)

Benjamin, Perl, ‘Les cuivres dans les opéras de Berlioz’, Brass Bulletin, 45 (1984), pp. 18–30Google Scholar

Sandor, E. P., ‘Development and use of the chromatic trumpet in the nineteenth century orchestra’, NACWPI Journal, 33/4 (1985), pp. 4–12Google Scholar

Ernest H. Gross Ⅲ, ‘The influence of Berlioz on contemporary nineteenth century use of brass instruments’, Brass Bulletin (in 4 parts): 67/3 (1989), p. 20; 68/4 (1989), p. 34; 69/1 (1990), p. 88; 70/2 (1990), p. 62

Edward, H. Tarr, ‘The romantic trumpet’, Historic Brass Society Journal, 5 (1993), pp. 213–61Google Scholar

Diana, Bickley, ‘The trumpet shall sound’, Historic Brass Society Journal, 6 (1994), pp. 61–83Google Scholar

David, Whitwell, ‘Berlioz – his music for winds’, The Instrumentalist, 20 (1996), pp. 71–5Google Scholar

Batigan, D. Verne, ‘Berlioz versus the organ’, The Organ, 6 (1927), pp. 171–8Google Scholar

Guy, Warrack, ‘Hector, thou sleep'st’, Musical Times, 104 (1963), pp. 896–7Google Scholar

Denis, McCaldin, ‘Berlioz and the organ’, The Organ Yearbook, 4 (1973), pp. 3–17Google Scholar

Geneviève, Duval-Wirth, ‘Berlioz et la voix’, Silex, 17 (1980), pp. 87–94Google Scholar

Tom, S. Wotton, ‘The roll of the drums’, Musical Opinion, 25 (1902), p. 366Google Scholar

Peter Hyde Tanner, ‘Timpani and percussion writing in the works of Hector Berlioz’ (PhD dissertation, Catholic University of America, 1967)

Nancy Benvenga, ‘The use of the percussion in the symphonies of Berlioz’ (typescript, Boston, 1969)

James Blades, Percussion Instruments and their History (London, 1970)

Cecil, B. Wilson, ‘Some remarks about multiple timpani and Berlioz’, The Instrumentalist, 28 (1973), pp. 55–6Google Scholar

John, Crabbe, ‘Hell's bells and Hector Berlioz’, Hi-Fi News and Record Review (1978), pp. 91–3Google Scholar

Nancy, Benvenga, ‘Berlioz and sponge timpani sticks’, Berlioz Society Bulletin, 100 (Summer 1978), pp. 5–9Google Scholar

Michael Paul Matesky, ‘Berlioz on conducting’ (DMA dissertation, University of Washington, 1974)

Elliott, W. Galkin, ‘Berlioz as conductor’, Journal of the American Liszt Society, 9 (1981), pp. 19–30Google Scholar

Donald L. Appert, ‘Berlioz, the conductor’ (DMA dissertation, University of Kansas, 1985)

Philip James Bone, The Guitar and Mandolin (London, 1914), pp. 36–40

Joseph, Zuth, ‘Die Gitarre des Berlioz’, Zeitschrift für die Gitarre, 1 (1922), pp. 8–11Google Scholar

Victor, Kolon, ‘Die Pariser Gitarre von Paganini–Berlioz’, Zeitschrift für die Gitarre, 5 (1926), pp. 50–3Google Scholar

Paul Jerald Dallman, ‘Influence and use of the guitar in the music of Hector Berlioz’ (MMus thesis, University of Maryland, 1972)

Anthony Baines, Woodwind Instruments and their History (London, 1957)

Cecil B. Wilson, ‘Berlioz's use of brass instruments’ (Ph.D. dissertation, Case Western Reserve, 1971)

Hugh, MacDonald, ‘An ophicleide you cannot refuse’, Berlioz Society Bulletin, 101 (1978), pp. 3–5Google Scholar

Jürgen Eppelshein, ‘Berlioz’ “Petit Saxhorn Suraigu”’, in Gesellschaft für Musikforschung. Bericht über den internationalen Musikwissenschaftlichen Kongreβ. Berlin 1974, ed. Hellmut Kühn and Peter Nitsche (Kassel, 1980), pp. 586–91

Anthony Baines, Brass Instruments: Their History and Development (New York, 1981)

Benjamin, Perl, ‘Les cuivres dans les opéras de Berlioz’, Brass Bulletin, 45 (1984), pp. 18–30Google Scholar

Sandor, E. P., ‘Development and use of the chromatic trumpet in the nineteenth century orchestra’, NACWPI Journal, 33/4 (1985), pp. 4–12Google Scholar

Ernest H. Gross Ⅲ, ‘The influence of Berlioz on contemporary nineteenth century use of brass instruments’, Brass Bulletin (in 4 parts): 67/3 (1989), p. 20; 68/4 (1989), p. 34; 69/1 (1990), p. 88; 70/2 (1990), p. 62

Edward, H. Tarr, ‘The romantic trumpet’, Historic Brass Society Journal, 5 (1993), pp. 213–61Google Scholar

Diana, Bickley, ‘The trumpet shall sound’, Historic Brass Society Journal, 6 (1994), pp. 61–83Google Scholar

David, Whitwell, ‘Berlioz – his music for winds’, The Instrumentalist, 20 (1996), pp. 71–5Google Scholar

Batigan, D. Verne, ‘Berlioz versus the organ’, The Organ, 6 (1927), pp. 171–8Google Scholar

Guy, Warrack, ‘Hector, thou sleep'st’, Musical Times, 104 (1963), pp. 896–7Google Scholar

Denis, McCaldin, ‘Berlioz and the organ’, The Organ Yearbook, 4 (1973), pp. 3–17Google Scholar

Geneviève, Duval-Wirth, ‘Berlioz et la voix’, Silex, 17 (1980), pp. 87–94Google Scholar

Tom, S. Wotton, ‘The roll of the drums’, Musical Opinion, 25 (1902), p. 366Google Scholar

Peter Hyde Tanner, ‘Timpani and percussion writing in the works of Hector Berlioz’ (PhD dissertation, Catholic University of America, 1967)

Nancy Benvenga, ‘The use of the percussion in the symphonies of Berlioz’ (typescript, Boston, 1969)

James Blades, Percussion Instruments and their History (London, 1970)

Cecil, B. Wilson, ‘Some remarks about multiple timpani and Berlioz’, The Instrumentalist, 28 (1973), pp. 55–6Google Scholar

John, Crabbe, ‘Hell's bells and Hector Berlioz’, Hi-Fi News and Record Review (1978), pp. 91–3Google Scholar

Nancy, Benvenga, ‘Berlioz and sponge timpani sticks’, Berlioz Society Bulletin, 100 (Summer 1978), pp. 5–9Google Scholar

Michael Paul Matesky, ‘Berlioz on conducting’ (DMA dissertation, University of Washington, 1974)

Elliott, W. Galkin, ‘Berlioz as conductor’, Journal of the American Liszt Society, 9 (1981), pp. 19–30Google Scholar

Donald L. Appert, ‘Berlioz, the conductor’ (DMA dissertation, University of Kansas, 1985)

Michael G. H. Wright, A Berlioz Bibliography (Farnborough, n. d.)

Cecil Hopkinson, A Bibliography of the Musical and Literary Works of Hector Berlioz 1803–1869, 2nd edn, ed. Richard Macnutt (Tunbridge Wells, 1980)

D. Kern Holoman, Catalogue of the Works of Hector Berlioz (Kassel, 1987)

Jeffrey Langford and Jane Denker Graves, Hector Berlioz: a Guide to Research (New York, 1989)

For further sources used in this book, see ‘Abbreviations’ (p. ⅩⅩⅩⅧ)