When the boys reached Paris, in 1822, Hector loyally tried to keep his promise to his father and threw himself into the studies which were so repugnant to him. He says he might have become a common-place physician after all, had he not one night gone to the opera. That night was a revelation; he became half frantic with excitement and enthusiasm. He went again and again. Learning that the Conservatoire library, with its wealth of scores, was open to the public, he began to study the scores of his adored Gluck. He read, re-read and copied long parts and scenes from these wonderful scores, even forgetting to eat, drink or sleep, in his wild enthusiasm. Of course, now, the career of doctor must be given up; there was no question of that. He wrote home that in spite of father, mother, relations and friends, a musician he would be and nothing else.
A short time after this the choir master of Saint Roch, suggested that Hector should write a mass for Innocents' Day, promising a chorus and orchestra, with ample rehearsals, also that the choir boys would copy the parts. He set to work with enthusiasm. But alas, after one trial of the completed work, which ended in confusion owing to the countless mistakes the boys had made in copying the score, he rewrote the whole composition. Fearing another fiasco from amateur copyists, the young composer wrote out all the parts himself. This took three months. With the help of a friend who advanced funds, the mass was performed at Saint Roch, and was well spoken of by the press.
The hostility of Hector's family to music as a profession, died down a bit, owing to the success of the mass, but started up with renewed vigor when the son and brother failed to pass the entrance examinations at the Conservatoire. His father wrote that if he persisted in staying on in Paris his allowance would be stopped. Lesueur, his teacher, promised to intercede and wrote an appealing letter, which really made matters worse instead of better. Then Hector went home himself, to plead his cause in person. He was coldly received by his family; his father at last consented to his return to Paris for a time, but his mother forbade it absolutely. In case he disobeyed her will, she would disown him and never again wished to see his face. So Hector at last set out again for Paris with no kind look or word from his mother, but reconciled for the time being with the rest of the family.
The young enthusiast began life anew in Paris, by being very economical, as he must pay back the loan made for his mass. He found a tiny fifth floor room, gave up restaurant dinners and contented himself with plain bread, with the addition of raisins, prunes or dates. He also secured some pupils, which helped out in this emergency, and even got a chance to sing in vaudeville, at the enormous sum of 50 francs per month!
These were strenuous days for the eager ardent musician. Teaching from necessity, in order to live, spending every spare moment on composing; attending opera whenever he got a free ticket; yet, in spite of many privations there was happiness too. With score under arm, he always made it a point to follow the performance of any opera he heard. And so in time, he came to know the sound—the voice as it were, of each instrument in the orchestra. The study of Beethoven, Weber and Spontini—watching for rare and unusual combinations of sounds, being with artists who were kind enough to explain the compass and powers of their instruments, were the ways and means he used to perfect his art.
When the Conservatoire examinations of 1827, came on, Hector tried again, and this time passed the preliminary test. The task set for the general competition was to write music for Orpheus torn by the Bacchantes. An incompetent pianist, whose duty it was to play over the compositions, for the judges, could seem to make nothing of Hector's score. The six judges, headed by Cherubini, the Director of the Conservatoire, voted against the aspirant, and he was thrown out a second time.
And now came to Berlioz a new revelation—nothing less than the revelation of the art of Shakespeare. An English company of actors had come to Paris, and the first night Hamlet was given, with Henrietta Smithson—who five years later became his wife—as Ophelia.
In his diary Berlioz writes: "Shakespeare, coming upon me unawares, struck me down as with a thunderbolt. His lightning spirit opened to me the highest heaven of Art, and revealed to me the best and grandest and truest that earth can give." He began to worship both the genius of Shakespeare and the art of the beautiful English actress. Every evening found him at the theater, but days were spent in a kind of dumb despair, dreaming of Shakespeare and of Miss Smithson, who had now become the darling of Paris.
At last this sort of dumb frenzy spent itself and the musician in him awoke and he returned to his normal self. A new plan began to take shape in his mind. He would give a concert of his own works: up to that time no French musician had done so. Thus he would compel her to hear of him, although he had not yet met the object of his devoted admiration.
It was early spring of the year 1828, when he set to work with frantic energy, writing sixteen hours a day, in order to carry through the wonderful plan. The concert, the result of so much labor, was given the last of May, with varying success. But alas, Miss Smithson, adsorbed in her own affairs, had not even heard of the excitable young composer who had dared and risked so much to make a name that might attract her notice.