Symphonie fantastique, premiered in 1830, is a long symphony for its time. Its chief novelty was that it had a title and a detailed programme, supplied by the composer. It is not strictly autobiographical, although the programme’s unnamed protagonist represents Berlioz himself. He had many reasons for composing such a work, which are discussed in the Introduction. There follows a translation of the programme and an outline of the symphony, preparing later discussion of each movement. One unusual feature is his use of a single melody, the idée fixe, in each movement; it represents the image of a beloved woman. Berlioz revised the symphony over many years before publishing it, and also revised the programme for performances with its sequel, the monodrama of the protagonist’s ‘Return to Life’ (known as Lélio), premiered in 1832 in the presence of the Irish actor Harriet Smithson, who became Berlioz’s first wife.