Question: Are Béla Bartók and Hector Berlioz both composers?

full_context: Document 1: Richard Wagner: Wilhelm Richard Wagner ( ; ] ; 22 May 181313 February 1883) was a German composer, theatre director, polemicist, and conductor who is primarily known for his operas (or, as some of his later works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Weber and Meyerbeer, Wagner revolutionised opera through his concept of the "Gesamtkunstwerk" ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama. He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle "Der Ring des Nibelungen" ("The Ring of the Nibelung").
Document 2: Palace of Music (Miskolc): The Palace of Music ("Zenepalota") is a building in Bartók square, Miskolc, Hungary. It is the building of the Béla Bartók Secondary School and the Béla Bartók Music Institute (a faculty of the University of Miskolc.) The Palace was designed by Gyula Waelder in Neo-baroque style and was built between 1926 and 1927. The construction was financed from USA loans, just like that of the Hotel Palace in Lillafüred and the Market Hall on Búza tér.
Document 3: 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 artistic life of the time.
Document 4: Te Deum (Berlioz): The Te Deum (Op. 22 / H.118) by Hector Berlioz (1803–1869) was completed in 1849. Like the earlier and more famous ""Grande Messe des Morts"", it is one of the works referred to by Berlioz in his Memoirs as "the enormous compositions which some critics have called architectural or monumental music." While the orchestral forces required for the "Te Deum" are not as titanic as those of the "Requiem", the work calls for an organ that can compete on equal terms with the rest of the orchestra. It lasts approximately fifty minutes and derives its text from the traditional Latin Te Deum, although Berlioz changed the word order for dramatic purposes.
Document 5: Requiem (Berlioz): The Grande Messe des morts (or Requiem), Op. 5, by Hector Berlioz was composed in 1837. The "Grande Messe des Morts" is one of Berlioz's best-known works, with a tremendous orchestration of woodwind and brass instruments, including four antiphonal offstage brass ensembles placed at the corners of the concert stage. The work derives its text from the traditional Latin Requiem Mass. It has a duration of approximately ninety minutes, although there are faster recordings of under seventy-five minutes.
Document 6: Piano Concerto No. 2 (Bartók): Béla Bartók's Piano Concerto No. 2 in G major, Sz. 95, BB 101 (1930–31) is the second of three piano concerti, and is notorious for being one of the most difficult pieces in the repertoire.
Document 7: List of compositions by Béla Bartók: This aspires to be a complete list of compositions by Béla Bartók. The catalogue numbering by András Szőllősy (Sz.), László Somfai (BB.) and Denijs Dille (DD.) are provided, as well as Bartók's own opus numbers. Note that Bartók started three times anew with opus numbers, here indicated with "(list 1)", "(list 2)" and "(list 3)" respectively. The pieces from the third listing are by far best known; opus lists 1 and 2 are early works. The year of composition and instrumentation (including voice) are included. See the main article on Béla Bartók for more details.
Document 8: Franz Liszt: Franz Liszt (] ; Hungarian: "Liszt Ferencz" , in modern usage "Liszt Ferenc", ] ; October 22, 1811July 31, 1886) was a prolific 19th-century Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, organist, philanthropist, author, nationalist and a Franciscan tertiary.
Document 9: Symphonie fantastique: Symphonie fantastique: Épisode de la vie d'un artiste ... en cinq parties ("Fantastical Symphony: An Episode in the Life of an Artist, in Five Parts") Op. 14, is a program symphony written by the French composer Hector Berlioz in 1830. It is an important piece of the early Romantic period. The first performance was at the Paris Conservatoire in December 1830. Franz Liszt made a piano transcription of the symphony in 1833 (S. 470).
Document 10: List of string quartets by Béla Bartók: The Hungarian composer Béla Bartók wrote six string quartets, each for the usual forces of two violins, viola and cello. Notable composers who have been influenced by them include Benjamin Britten, particularly in the Sonata in C for Cello and Piano (; ), Elliott Carter, who refers in the opening of his own First String Quartet to Bartók’s Sixth Quartet , Chen Yi , Edison Denisov, whose Second Quartet is closely related to Bartók’s Fifth Quartet , Franco Donatoni, who was deeply impressed when he heard a broadcast of Bartók's Fourth Quartet , Robert Fripp, who mentions them as an influence upon King Crimson , Miloslav Ištvan , György Kurtág, whose Opp. 1 and 28 both owe a great deal to Bartók's quartets (; ), György Ligeti, whose two string quartets both owe a great deal to Bartók’s quartets (; ), Bruno Maderna , George Perle, who credits the Bartók Fourth and Fifth Quartets as precedents for his use of arrays of chords related to one another by different types of symmetry , Walter Piston (; ), Kim Dzmitrïyevich Tsesakow , Wilfried Westerlinck , Stefan Wolpe, who explained in a public lecture how he had derived ideas from Bartók’s Fourth Quartet , and Xu Yongsan .
Document 11: Hector Berlioz: Louis-Hector Berlioz (] (English: ); 11 December 1803 – 8 March 1869) was a French Romantic composer, best known for his compositions "Symphonie fantastique" and "Grande messe des morts" (Requiem). Berlioz made significant contributions to the modern orchestra with his "Treatise on Instrumentation". He specified huge orchestral forces for some of his works, and conducted several concerts with more than 1,000 musicians. He also composed around 50 songs. His influence was critical for the further development of Romanticism, especially in composers like Richard Wagner, Nikolai Rimsky-Korsakov, Franz Liszt, Richard Strauss, and Gustav Mahler.
Document 12: Béla Bartók: Béla Viktor János Bartók ( ; ] ; 25 March 1881 – 26 September 1945) was a Hungarian composer, pianist and an ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Liszt are regarded as Hungary's greatest composers . Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology.
Document 13: Béla Bartók Music High School: Béla Bartók Music High School (Bartók Béla Zeneművészeti Szakközépiskola) is situated in the Palace of Music (Zenepalota) in Bartók square Miskolc, Hungary.It is a famous Music school named after the famous Hungarian composer Béla Bartók.It was founded in 1966.
Document 14: Prix de Rome cantatas (Berlioz): The French composer Hector Berlioz made four attempts at winning the Prix de Rome music prize, finally succeeding in 1830. As part of the competition, he had to write a cantata to a text set by the examiners. Berlioz's efforts to win the prize are described at length in his "Memoirs". He regarded it as the first stage in his struggle against the musical conservatism represented by the judges, who included established composers such as Luigi Cherubini, François-Adrien Boieldieu and Henri Montan Berton. Berlioz's stay in Italy as a result of winning the prize also had a great influence on later works such as "Benvenuto Cellini" and "Harold en Italie". The composer subsequently destroyed the scores of two cantatas ("Orphée" and "Sardanapale") almost completely and reused music from all four of them in later works. There was a revival of interest in the cantatas in the late 20th century, particularly "La mort de Cléopâtre", which has become a favourite showcase for the soprano and mezzo-soprano voice.
Document 15: La Symphonie fantastique: La Symphonie fantastique is a 1942 French drama film by Christian-Jaque and produced by the German-controlled French film production company Continental Films. The film is based upon the life of the French composer Hector Berlioz. The title is taken from the five-movement programmatic "Symphonie fantastique" of 1830. The film lasts around 90 minutes and was first shown at the 'Normandie' cinema in Paris on 1 April 1942. The posters at the premiere contained the sub-title 'La Vie passionnée et glorieuse d'un génie' (which links with the quote from Hugo at the very end of the film).
ground_truth: yes