Composed in probably 1840 or early 1841, the Reverie et Caprice is one of Berlioz’s less well-known works. Though obviously not among his finest compositions, it is nevertheless of interest as the only piece of music written by him in a concertante style. The symphony Harold en Italie with solo viola is not exactly comparable: it is not a viola concerto and the orchestra has a major role in it, whereas in the Rêverie et caprice the solo violin plays the leading role from the very start and the orchestra is merely supportive. The piece is also another example of the composer’s skill at adapting vocal music for instrumental purposes: the substance of the work derives in fact from the original version of the aria for Teresa early in Act I of the opera Benvenuto Cellini (H 76) (Ah! que l’amour une fois dans le cœur) which Berlioz discarded before the first performance and replaced with the present aria (Entre l’amour et le devoir). The aria was transposed from B minor in the opera to F sharp minor/A major in the Romance. Apart from the coda, where the violin version differs from that in the opera, the music follows for the most part the original aria, except that it is adapted to a violinistic idiom; for example, the solo part makes in places use of double stopping to intensify the music and give more variety (bars 83-7, 97-106), and Berlioz adds decorative figuration to the solo violin (bars 90-4).
The Rêverie et caprice was published in 1841; reproduces the contract between Berlioz and the publisher Richaut, which bears the date 26 March 1841. The full score is dedicated ‘to my friend Artôt’, i.e. the Belgian virtuoso violinist Alexandre Artôt (1815-1845). Artôt is not mentioned in Berlioz’s Memoirs and there is little about Berlioz’s relations with him in the composer’s correspondence. Most of the evidence comes from Berlioz’s feuilletons in the Journal des Débats where there are a number of references to him between 1839 and 1844. The first mention of Artôt is in Débats 22 January 1839: Let us not forget to draw to the attention of the Paris public a violinist of the top flight, M. Artôt, whose highly original style of playing and fiery energy will certainly cause a sensation this winter. How these young virtuosi make us musicians of 35 years look old! I remember the time when the young Artôt, who was a page at the Royal Chapel, would sing at the Tuileries in Lesueur’s oratorios. The child won a first prize for violin [in 1828], disappeared for ten years, and is now back as a consummate artist, loaded with presents from the Russian court, with crowns from Germany, rich and on the point of being a prophet in his own country.
The next mention dates from 18 April of the same year, following a concert in Paris by the violinist: Artôt, just back this winter from his long travels in northern Europe, was far less well known to the Parisians [than the pianist Doëhler]. The novelty and boldness of his bowing style, the passionate expression and breadth which he deploys in slow melodies, the thrilling fire and sureness with which he throws off the most difficult passages, and the unfailing accuracy of his intonation, excited a crescendo of applause which inevitably brought the house down. That evening Artôt scored a triumph which he might easily repeat were he to perform in a theatre or a large concert hall, which is the only place where he can be at ease and give rein to his verve. But he is leaving us and departing for England which, we have no doubt, will confirm the verdict of Paris.
Thereafter there are a number of very complimentary references to the young violinist and his talent on the occasion of concerts given by him in Paris; From these a picture can be constructed of Berlioz’s relations with the young violinist, which provides a context for the composition of Rêverie et caprice. Berlioz will have met Artôt in the 1820s when he was a page and chorister at the Royal Chapel, and also a precocious violin student at the Conservatoire, where he won a first prize in 1828. Artôt then followed this by going on successful concert tours abroad for several years until he returned to Paris late in 1838 or early in 1839 where Berlioz met him again, and Artôt won numerous plaudits in a series of concerts on which Berlioz reported enthusiastically. Artôt continued to pursue his travelling career in Europe, including a visit to London, and in 1843 a tour of America, from which he returned in 1844, but his career was abruptly cut short by illness and he died in 1845.
Berlioz states that he wrote the work for Artôt and the dedication implies as much. Impressed by the qualities of Artôt’s playing, he decided to write the piece for him, and the existence of the discarded aria from Benvenuto Cellini provided suitable material; whether Artôt was consulted about the violin part is not known (Berlioz was familiar with the technique of the violin as with that of many other instruments). It is unlikely that the work will have been composed in 1839, since in that year most of Berlioz’s time was taken up with the composition and then performance of the symphony Roméo et Juliete; more probably the work was written in 1840 or possibly very early in 1841, in time for its publication in March. Presumably Berlioz assumed that the first performance of the work would be given by Artôt its dedicatee. Artôt had previously performed at least once at a concert conducted by Berlioz (6 February 1840; CG II p. 630 n. 1), but in the event he never performed the work. The first performance was given on 1 February 1842, not by him but by the violinist Alard, highly regarded by Berlioz, and this implies that Artôt was not available at the time. There is no mention of him in Berlioz’s feuilletons of 1842, and he was probably on tour abroad; the following year 1843 he definitely was in America, from which he only returned in 1844, but his health was already failing and he died the following year.
