More forthright, less inhibited, in fact downright exhibitionistic (many thought) was the self-dramatizing romanticism of Berlioz, Schumann's closest French counterpart. His was the dynamic, scathing, somewhat scandalous romanticism of Victor Hugo, whose works were known to cause riots in the theater. Civic engagement was what French romantics sought in the afterglow of their heroic revolution, which surrounded the word citoyen (citizen) with an aureole. Berlioz the citizen-composer followed in the footsteps of his teacher, Jean-François Le Sueur (1760–1837), who had been the Inspecteur du Conservatoire from the very founding of that great institution in 1795. That job obligated Le Sueur to furnish the grand hymns for mass singing at the yearly revolutionary commemorations (Fêtes de la Révolution).
- Citation (MLA):
- Richard Taruskin. "Chapter 6 Critics." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 2 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-006006.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 6 Critics. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 2 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-006006.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 6 Critics." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 2 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-006006.xml