"Did You Hear What Happened to Charlotte King? ""Did You Hear What Happened to Charlotte King?"" is the seventh episode of the fourth season of the American television medical drama ""Private Practice"" and the show's 61st episode overall. Written by Shonda Rhimes and directed by Allison Liddi-Brown, the episode was originally broadcast on ABC in the United States on November 4, 2010. ""Private Practice"" centers on a group of young doctors working in a private medical practice, and this episode deals with the immediate aftermath of Charlotte King's rape. The episode, written in collaboration with the Rape, Abuse & Incest"
"Berlioz"". Berlioz was ten years older than Alkan, but did not attend the Conservatoire until 1826. The two were acquainted, and were perhaps both influenced by the unusual ideas and style of Anton Reicha who taught at the Conservatoire from 1818 to 1836, and by the sonorities of the composers of the period of the French Revolution. They both created individual, indeed, idiosyncratic sound-worlds in their music; there are, however, major differences between them. Alkan, unlike Berlioz, remained closely dedicated to the German musical tradition; his style and composition were heavily determined by his pianism, whereas Berlioz could hardly play"
"lost until a copy was discovered in 1991. During 1825 and 1826 he wrote his first opera, ""Les francs-juges"", which was not performed and survives only in fragments, the best known of which is the overture. In later works he reused parts of the score, such as the ""March of the Guards"", which he incorporated four years later in the ""Symphonie fantastique"" as the ""March to the Scaffold"". In August 1826 Berlioz was admitted as a student to the Conservatoire, studying composition under Le Sueur and counterpoint and fugue with Anton Reicha. In the same year he made the first"
"his Conservatoire professors, the directors of the Opéra and Opéra-Comique, and the composers Auber and Hérold, Berlioz's fascination with Shakespeare's plays prompted him to start learning English during 1828, so that he could read them in the original. At around the same time he encountered two further creative inspirations: Beethoven and Goethe. He heard Beethoven's third, fifth and seventh symphonies performed at the Conservatoire, and read Goethe's ""Faust"" in Gérard de Nerval's translation. Beethoven became both an ideal and an obstacle for Berlioz – an inspiring predecessor but a daunting one. Goethe's work was the basis of ""Huit scènes de"
"by taking up music as a profession. His independence of mind and refusal to follow traditional rules and formulas put him at odds with the conservative musical establishment of Paris. He briefly moderated his style sufficiently to win France's premier music prize, the Prix de Rome, in 1830 but he learned little from the academics of the Paris Conservatoire. Opinion was divided for many years between those who thought him an original genius and those who viewed his music as lacking in form and coherence. At age 22 Berlioz fell in love with the Irish Shakespearean actress Harriet Smithson, and"
"Estelle endured all his life. He poured some of his unrequited feelings into his early attempts at composition. Trying to master harmony, he read Rameau's ""Traité de l'harmonie"", which proved incomprehensible to a novice, but Charles-Simon Catel's simpler treatise on the subject made it clearer to him. He wrote several chamber works as a youth, subsequently destroying the manuscripts, but one theme that remained in his mind reappeared later as the A-flat second subject of the overture to ""Les francs-juges"". In March 1821 Berlioz passed the baccalauréat examination at the University of Grenoble – it is not certain whether at"
"replacement there was Hector Berlioz), when he joined ""le Constitutionnel""; he also collaborated in Fétis's ""Revue musicale"" (Paris, 1827), as well as other periodicals or reviews. He is without a doubt, in France, the first music critic to have studied music. He is the author of various books and articles on the theory of music, music history, and the history of the theater. He started a series of three works dedicated to three great lyric theaters of Paris: the Opéra National de Paris, the Comédie-Italienne, and the Opéra-Comique. He was only able to finish and publish the first two before"
"in the evolution of the modern orchestra. Franz Liszt was among those attending the concert; this was the beginning of a long friendship. Liszt later transcribed the entire ""Symphonie fantastique"" for piano to enable more people to hear it. Shortly after the concert Berlioz set off for Italy: under the terms of the Prix de Rome, winners studied for two years at the Villa Medici, the French Academy in Rome. Within three weeks of his arrival he went absent without leave: he had learnt that Marie had broken off their engagement and was to marry an older and richer suitor,"
"basic instruction on the flageolet, and he later took flute and guitar lessons with local teachers. He never studied the piano, and throughout his life played haltingly at best. He later contended that this was an advantage because it ""saved me from the tyranny of keyboard habits, so dangerous to thought, and from the lure of conventional harmonies"". At the age of twelve Berlioz fell in love for the first time. The object of his affections was an eighteen-year-old neighbour, Estelle Dubœuf. He was teased for what was seen as a boyish crush, but something of his early passion for"
"but Chopin did not appreciate the manner in which Liszt played variations on his music. The violinist Niccolò Paganini was a frequent visitor and performer in Paris. In 1836, he made an unfortunate investment in a Paris casino and went bankrupt. He was forced to sell his collection of violins to pay his debts. The French composer Hector Berlioz had come to Paris from Grenoble in 1821 to study medicine, which he abandoned for music in 1824, attending the Paris Conservatory in 1826; he won the Prix de Rome for his compositions in 1830. He was working on his most"
"the regular operatic repertoire. Meeting only occasional success in France as a composer, Berlioz increasingly turned to conducting, in which he gained an international reputation. He was highly regarded in Germany, Britain and Russia both as a composer and as a conductor. To supplement his earnings he wrote musical journalism throughout much of his career; some of it has been preserved in book form, including his ""Treatise on Instrumentation"" (1844), which was influential in the 19th and 20th centuries. Berlioz died in Paris at the age of 65. Berlioz was born on 11 December 1803, the eldest child of Louis"
"German producer Alfred Greven to Berlin to remind him that the French should only have light and superficial new films - and not cultivate French nationalism. The film is biographical, telling the story of the life and artistic struggles of the French composer Hector Berlioz. Berlioz is shown as a recalcitrant medical student in an anatomy class dreaming of becoming a composer; at a demonstration during a performance at the Paris Opéra conducted by Habeneck; at supper with other young artists (Hugo, Janin, Dumas, Mérimée, Delacroix); and chasing after his future wife Harriet Smithson, after a performance of ""Hamlet"". Also"
"but wanted to buy the synopsis of his opera, ""Le Vaissau fantôme"", to be put to music by a French composer, Louis-Philippe Dietsch. Wagner sold the work for five hundred francs, and returned home in 1842. The French composer Hector Berlioz had come to Paris from Grenoble in 1821 to study medicine, which he abandoned for music in 1824, attending the Conservatory in 1826, and won the ""Prix de Rome"" for his compositions in 1830. He was working on his most famous work, the ""Symphonie Fantastique"", at the time of the July 1830 revolution. It had its premiere on 4"
"started composing his own music as a teenager, first writing by playing a folk guitar. He began his musical training at the Conservatorio Verdi in Milan, obtaining a diploma in composition in 1982. That same year he took an orchestration class taught by Luciano Berio and was awarded a scholarship to the Tanglewood Music Festival. According to Einaudi, ""[Luciano] Berio did some interesting work with African vocal music and did some arrangements of Beatles songs, and he taught me that there is a sort of dignity inside music. I learnt orchestration from him and a very open way of thinking"
"were under the sign of the influence of Hector Berlioz (their friendship began with an enthusiastic review of the London premiere of the opera Berlioz ""Benvenuto Cellini"", which Samuel published in Belgium). Samuel became in 1860 Professor of Harmony in Brussels and 1871 Conservative Director of Ghent. In 1865 he founded in Brussels a series of public concerts, based on the model of Jules Pasdeloup, during which he promoted the music of contemporary composers, especially Richard Wagner and Franz Liszt. With this he wanted to make classical music accessible to everyone and to promote the musical and intellectual level of"
"Overtures by Hector Berlioz The French composer Hector Berlioz wrote a number of overtures, many of which have become popular concert items. They include overtures intended to introduce operas as well as independent concert overtures. ""Les francs-juges"", Op. 3. Composed 1826. The overture to Berlioz's first attempt at opera, which was never staged. The overture was first performed in the concert hall of the Paris Conservatoire as part of an all Berlioz concert on 26 May 1828. In his study on the composer, Jacques Barzun describes the work as ""a genuine tour de force for a young dramatic musician working"
"a what would be the focus of his musical scholarship for many years. The dissertation, with revisions and corrections, was published in 1980 as ""The Creative Process in the Autograph Musical Documents of Hector Berlioz, c. 1818–1840"". In 1987, he published the first complete catalogue of the works of Hector Berlioz, and in 1989 he published ""Berlioz"", his 687-page biography of the composer. He also edited the critical edition of the ""Roméo et Juliette"" score for the new edition of the complete works of Berlioz, published by Bärenreiter in 1990. Holoman's interest in Berlioz and 19th century French orchestral music"
"accepted to the Manhattan School of Music, where he discovered to his dismay that there were students there who could play as well or better than he could, and who practiced. He decided that classical piano was not for him, and switched to Berklee College of Music, because of its jazz program. He was relieved to find others like him, and finally began to practice in some way. While there, he took lessons with a woman named Madame Chaloff, who focused on the physical action of playing the piano gracefully. After attending Berklee three years, he visited Rio de Janeiro,"
"which may have stimulated his own lifelong devotion to that composer's music. During this period, Liszt read widely to overcome his lack of a general education, and he soon came into contact with many of the leading authors and artists of his day, including Victor Hugo, Alphonse de Lamartine and Heinrich Heine. He composed practically nothing in these years. Nevertheless, the July Revolution of 1830 inspired him to sketch a Revolutionary Symphony based on the events of the ""three glorious days,"" and he took a greater interest in events surrounding him. He met Hector Berlioz on December 4, 1830, the"
"as well as perform rudimentary mathematics, before they entered the Nikolai Primary School in Leipzig. Karl and Moritz enjoyed astronomy and together calculated lunar phases and planetary movement. Karl attended secondary school at the highly-esteemed Fürstenschule St. Augustin zu Grimma starting in 1817. He commenced studies at Leipzig University in 1821. It was here that he undertook the serious study of music theory under organist J. A. Dröbs. In 1826 Drobisch wrote the oratorio ""Bonifazius, der Apostel der Deutschen"", which was among the first of numerous German oratorios on the subject of Saint Boniface. The oratorio was not successful, and"
"shown by the director of the Paris Opera; he rejected Wagner's music but wanted to buy the synopsis of his opera, ""Le Vaissau fantôme"", to be put to music by a French composer, Louis-Philippe Dietsch. Wagner sold the work for five hundred francs, and returned home in 1842. Of the French composers during the period Hector Berlioz was the most prominent. He had come to Paris from Grenoble in 1821 to study medicine, which he abandoned for music in 1824, attending the Conservatory in 1826, and won the ""Prix de Rome"" for his compositions in 1830. He was working on"
"textbook by Nikolai Rimsky-Korsakov, who, as a music student, attended the concerts Berlioz conducted in Moscow and Saint Petersburg. Hector Berlioz as critic and author Hector Berlioz, best known as a composer, was also a prolific writer, who supported himself, early in his career, by writing musical criticism, using a bold, vigorous style, at times imperious and sarcastic. Criticism was an activity ""at which he excelled but which he abhorred"". Despite his complaints, Berlioz continued writing music criticism for most of his life, long after he had any financial need to do so. Berlioz wrote for many journals, including the"
"Germany. His musical education began in 1908 at the Hochschule für Musik Freiburg, where he studied violin, composition, and musical theory. He took up a position as organist while he was still in school, at the in Freiburg, the same church where his first composition for mass was to be performed. From 1911 to 1912 he studied philosophy and literature at the University of Freiburg, and from 1912 to 1913 he studied organ, counterpoint, and improvisation with Adolf Hamm (a former student of Max Reger and Karl Straube) at the Music Academy in Basel. In 1914 he recorded 23 piano"
"moved to Madrid where he attended the Real Conservatorio Superior and continued his musical studies, obtaining professional degrees in the saxophone, piano, harmony, counterpoint, composition, instrumentation and conducting. In 1993 he received a grant from the Ministry of Culture to study at the prestigious Berklee College of Music, and it was as a student at Berklee that he would develop his aspirations to compose film scores and jazz. Although Baños initially developed his skills as a concert musician, he soon decided to focus on composition. His approach to film music is due to his education at the Berklee College of"
"planned. He was going to pursue a career within business, and when he was fifteen he was sent to business school in Copenhagen. Nonetheless his musical interests prevailed and instead of studying business he ended up studying music, and in 1859 he went to Berlin for advanced studies. After six months he had to return home and he continued studies in Oslo, and his first compositions came during the winter of 1859–60. In 1861 he went back to Berlin to continue his studies, and he stayed there for two more years. The compositions that he himself marked opus 1 were"
"By the end of 1822 he felt that his attempts to learn composition needed to be augmented with formal tuition, and he approached Jean-François Le Sueur, director of the Royal Chapel and professor at the Conservatoire, who accepted him as a private pupil. In August 1823 Berlioz made the first of many contributions to the musical press: a letter to the journal ""Le Corsaire"" defending French opera against the incursions of its Italian rival. He contended that all of Rossini's operas put together could not stand comparison with even a few bars of those of Gluck, Spontini or Le Sueur."
"fascinated by film noir after seeing Robert Siodmak's ""Spiral Staircase"" as a twelve-year-old. He began playing piano as a young child, and as a teenager studied with Ray Cassarino. In his teenage years, he became fascinated with gospel music and studied the compositions of Béla Bartók and Claude Debussy. After high school, he attended Bard College in New York, graduating in 1960 with a Bachelor of Arts degree in Jazz, a major that had not previously existed at the school. At Bard he met Jeanne Lee, with whom he performed for many years. He also studied with John Lewis, Oscar"
"towards Berlioz. Since Barzun, the leading Berlioz scholars have included David Cairns, D. Kern Holoman, Hugh Macdonald and Julian Rushton. Cairns translated and edited Berlioz's ""Mémoires"" in 1969, and published a two-volume, 1500-page study of the composer (1989 and 1999), described in ""Grove's Dictionary of Music and Musicians"" as ""one of the masterpieces of modern biography"". Holoman was responsible for the publication in 1987 of the first thematic catalogue of Berlioz's works; two years later he published a single-volume biography of the composer. Macdonald was appointed in 1967 as the inaugural general editor of the New Berlioz Edition published by"
"the ""bel canto"". He was very criticised for doing that and he started a true battle against several newspapers and music critics. His battle for the nationalisation of the classical music was extended by his work at the Popular Concert Association from 1896–1906, where he promoted the recognition of several Brazilian Composers. In 1888, he was able to leave for Europe to further his musical studies. In Rome he studied with Giovanni Sgambati. In 1890, he moved to Berlin where he studied composition with Heinrich von Herzogenberg and continued his piano studies with the famous teacher Teodor Leszetycki at the"
"Mémoires (Berlioz) The Mémoires de Hector Berlioz are an autobiography by French composer Hector Berlioz. First serialised in several contemporary journals including ""Journal des Débats"" and ""Le Monde Illustré"", their compilation into one book was completed on New Year's Day, 1865 and after much proof-reading, an initial printing of 1200 was carried out in July. After distributing some copies to certain friends, they were put aside until Berlioz died. After Berlioz's death in 1869, they were published in 1870. They provide an extremely colourful, if biased, account of Berlioz's life, and are invaluable to anyone with an interest in the"
"later developed his pedagogical theories by reading Jean-Jacques Rousseau and Johann Heinrich Pestalozzi. He studied theology at the University of Wittenberg in preparation for the ministry, matriculating in 1803, and, having preached the obligatory trial sermon in Dresden, he left theology. The following nine years he worked as a private tutor to various wealthy families in Thuringia. He became a friend of a music teacher, Adolph Bargiel, at his first position with a Baron von Seckendorff in Querfurth, and in 1815 he composed a group of songs which he sent to Carl Maria von Weber. The songs were published and"
"grudgingly admired some works by Rossini, he despised what he saw as the showy effects of the Italian style and longed to return opera to the dramatic truth of Gluck. He was also a fully-fledged Romantic, keen to find new ways of musical expression. His first and only work for the Paris Opéra, ""Benvenuto Cellini"" (1838), was a notorious failure. Audiences could not understand the opera's originality and musicians found its unconventional rhythms impossible to play. Twenty years later, Berlioz began writing his operatic masterpiece ""Les Troyens"" with himself rather than audiences of the day in mind. ""Les Troyens"" was"
"enthusiasms. The former included musical pedants, coloratura writing and singing, viola players who were merely incompetent violinists, inane libretti, and baroque counterpoint. He extravagantly praised Beethoven's symphonies, and Gluck's and Weber's operas, and scrupulously refrained from promoting his own compositions. His journalism consisted mainly of music criticism, some of which he collected and published, such as ""Evenings in the Orchestra"" (1854), but also more technical articles, such as those that formed the basis of his ""Treatise on Instrumentation"" (1844). Despite his complaints, Berlioz continued writing music criticism for most of his life, long after he had any financial need to"