In his Symphonie Fantastique, Hector Berlioz moved away from the conventions of classical symphony and its structure and use of music. Instead of the four movements with varying tempos, moods and forms, BerliozÆ works represented musical dramas in five acts that embody a recurrent musical theme. Called ôstunningly originalö by music critics, BerliozÆ Symphonie Fantastique did more than change structure and form of opera (Orchestral, p. 286). It also used a number of new instruments that were considered harsh for the period and were played in what was then considered a shockingly loud manner. In the fourth movement of the opera, ôMarch to the Scaffold,ö Berlioz ôintroduces a brass sound never before heard in the concert hallö massive, forceful, and rhythmically chargedö (Orchestral, p. 285).
BerliozÆ work was also unique in that he filled Symphonie Fantastique with many autobiographical elements pertaining to his obsessive love for the Irish actress Harriet Smithson. However, unlike other composers and operas of the time, BerliozÆ work is known for its ôrealismö as the composer avoided ôprettifying ugly or grotesque themesö (Orchestral, p. 285). Berlioz instead chose to use instruments considered harsh to convey such themes.
Numerous developments on the piano expanded the range and form of composition as well as helping expand markets for chamber music, song and music for solo piano in the 19th-century. These included a growing affordability, the creation of more works for solo piano and voice and piano, the expansion from five octaves to 88 keys, an increase in size of the frame, leather hammer coverings, and damper pedal adjustments (Piano, p. 311; 294). Such innovations and trends widened the audience for chamber music, song, and solo piano because it increased the capacity of the piano that was, in turn, used by a number of composers in unique creations. For example,
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