The shepherd dreaming of his sweetheart converses with the horn, which, in keeping with French tradition, represents the voice of his absent beloved. In the two Breton pieces, Berlioz does not seem to be bothered about local colour. Their music nevertheless covers a fairly broad spectrum, as may be seen from the two settings of Bouclon’s poem, which explore two contrasting styles: despite the subtitle “romance”, Le matin, the evocation of a rustic dawn, takes a strikingly developed form, not strictly strophic, and with many different support formulas in Petit oiseau (“peasant song”), on the other hand, Berlioz stylises the regularity and simplicity of a folk song. These five pieces were probably published together because of their traditional tone and the natural subject of their texts. It closes with two songs to lines by Auguste Brizeux: Le jeune pâtre breton, a romance for voice, horn ad libitum and piano, which also exists in a version with orchestral accompaniment, and Le chant des Bretons, composed in 1835 for four male voices. Leipzig: Breitkopf und Hrtel, n.d., as part of Hector Berlioz Werke (190007), Serie VI, Band 14 (1903) and Serie VII, Band 16 (1904), edited by Charles Malherbe and Felix Weingartner. These are followed by Le trébuchet, a “scherzo for two voices” (male or female) composed in the early 1840s to words by Antoine de Bertin (first verse) and Émile Deschamps (verses 2 and 3). Louis Hector Berlioz (11th December 18038th March 1869) was a French Romantic composer best known for the Symphonie fantastique, first performed in 1830, and for his Requiem - Grande messe des morts - of 1837, with its tremendous resources that include four antiphonal brass choirs. Paris: 1863, H 40A included in Collection de 32 Mlodies: no. Published by Richault in 1850, Fleurs des landes opens with two settings of exactly the same text by Adolphe de Bouclon. In 1849-50 Berlioz published several song cycles put together from independent pieces written for different vocal forces.
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