Inspired by these studies he tried his hand at music making in earnest.  First came some arrangements of trios and quartettes.  Then finally he was emboldened to write a quintette for flute, two violins, viola and ’cello.  Two months later he had produced another quintette, which proved to be a little better.  At this time Hector was twelve and a half.  His father had set his heart on the boy’s following his footsteps and becoming a doctor; the time was rapidly approaching when a decision had to be made.  Doctor Berlioz promised if his son would study anatomy and thoroughly prepare himself in this branch of the profession, he should have the finest flute that could be bought.  His cousin Robert shared these anatomical lessons; but as Robert was a good violinist, the two boys spent more time over music than over osteology.  The cousin, however, really worked over his anatomy, and was always ready at the lessons with his demonstrations, while Hector was not, and thus drew upon himself many a reprimand.  However he managed to learn all his father could teach him, and when he was nineteen consented to go to Paris, with Robert, and—­though much against his will—­become a doctor.

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.