question: Are Béla Bartók and Hector Berlioz both composers?
answer: yes
context: Title: List of compositions by Béla Bartók
  Passage: 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.
  Title: Prix de Rome cantatas (Berlioz)
  Passage: 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.
  Title: Mémoires (Berlioz)
  Passage: 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.
  Title: String Quartet No. 6 (Bartók)
  Passage: The String Quartet No. 6, Sz.  114, BB 119, was the final string quartet that Béla Bartók wrote before his death.  It was begun in August 1939 in Saanen, Switzerland, where Bartók was a guest of his patron, the conductor Paul Sacher.  Shortly after he completed the Divertimento for String Orchestra on the 17th, he started on a commission for his friend, the violinist Zoltán Székely.  Székely was acting as intermediary for the "New Hungarian Quartet", who had given the Budapest premiere of the String Quartet No. 5.  With the outbreak of World War II and his mother's illness, Bartók returned to Budapest, where the quartet was finished in November.  After his mother's death, Bartók decided to leave with his family for the United States.  Due to the difficulties of the war, communication between Bartók and Székely was difficult, and the quartet was not premiered until 20 January 1941, when the Kolisch Quartet, to whom the work is dedicated, gave its premiere at the Town Hall in New York City.
  Title: List of string quartets by Béla Bartók
  Passage: 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 .
  Title: Palace of Music (Miskolc)
  Passage: 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.
  Title: Suite, Op. 14 (Bartók)
  Passage: The Suite, Op. 14, Sz.  62, BB 70 is a piece for solo piano written by Béla Bartók.  It was written in February 1916, published in 1918, and debuted by the composer on April 21, 1919, in Budapest.  The Suite is one of Bartók's most significant works for piano, only comparable with his 1926 Piano Sonata.  Though much of Bartók's work makes frequent use of Eastern European folk music, this suite is one of the few pieces without melodies of folk origin.  However, Romanian, Arabic, and North African rhythmic influences can still be found in some movements.  Originally intending the suite to be a five-movement work, Bartók later decided against the idea and discarded the second movement, the "Andante", which was published only posthumously in the October 1955 issue of "Új Zenei Szemle" (New Musical Review).
  Title: Béla Bartók
  Passage: 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.
  Title: Hector Berlioz
  Passage: 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.
  Title: Béla Bartók Music High School
  Passage: 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.
citations: Béla Bartók Hector Berlioz