Berlioz's "other" symphony was written at the commission of the French Minister of the Interior in 1840. The music was to accompany a ceremony to commemorate the belated internment of the remains of those who had fallen in the 1830 Revolution and the unveiling of a monument at that sight in the Place de la Bastille. Aside from a substantial sum of ten thousand francs, the project must have appealed mightily to Berlioz's love of effect and grandeur, he realizing the potential for an appropriate use of massed forces. The composer threw himself into the project, scoring it for a large wind band, with strings and voices entering in the finale. With these forces, Berlioz, himself conducting, actually premiered the work before a large audience at the final rehersal prior to the commemoration ceremony. The latter must have been visually exciting, for according to some accounts Berlioz wore the white uniform of the Republic and conducted with a sword in lieu of baton. But the composer was wise in calling for the earlier presentation, for at the ceremony the finale was played on the march; it surely left much to be desired aurally.

The "Funereal and Triumphal Symphony" reveals the classical side of the usually hyper-romantic Berlioz. The composer listed it among his "architectural" works, in which structure, more deliberate tonal processes, less complicated rhythms, and consistent texture predominate. Yet the imprint of Berlioz is unmistakable in the long unwinding melodies, unconventional changes of harmony (albeit at greater intervals), powerful effects and "the grand gesture". In three movements, the first ("Funeral March") begins with muffled side drums as the woodwinds unfold a long, arching melody, plaintive, mournful yet dignified in its restraint. Episodes of serene consolation alternate until a climax, inexorable and almost barbaric and unleasing the full forces or brass and percussion, is reached. The movement resolves on a more traditional cadence. The second movement ("Oration") is dominated by a solo trombone and is in two sections. The first is declamatory, the voice of the trombone eulogizing; the second part is an aria for the instrument, prayerful and expressive. As the last note fades a thrilling transition begins, against a sustained drumroll with fanfares from each brass choir entering. This leads to the finale ("Apotheosis"), with a martial air as stirring, proud and Gallic as "La Marsellaise". The optimistic swing of the music is carried through free variations until the opening theme returns supported by strings and chorus, bringing the work to a transfigured conclusion.

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