Transcript Symphony Fantastique Hector Berlioz

Symphony Fantastique
Hector Berlioz
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Romantic Features
Texture
• How melodies and harmonies are arranged
• Textures changed quickly
• Usually homophonic texture with some polyphonic
Melody
• Long expansive melodies
• Modulations/dramatic leaps/chromatic movement
Romantic Features
Instruments
• Orchestra was big
• Combinations of instruments
• Piano used a lot
Form
• Movements extended
• Rules relaxed to allow expression
• Pieces depicted emotions
Romantic Features
Features
• Wide dynamic range
• Modulation
• Use of leitmotiv
• Doubling of parts
The Romantic Period
Paris became the most important city for Romantic music
In Romantic music fantasy and expression are more
important than balance and symmetry of Classical period
The composers of the Romantic period sought to create
Drama
Describe an emotion
Paint a scene
Romantic Style
Texture – changed quickly from section to section
Melody – long expansive melody which include unusual
modulations
Instruments – Orchestras became much bigger
Form – Usual forms were in use but were extended
Features – Included wide ranges, modulation to non-related
keys, the use of leitmotiv – a recurring theme
Berlioz’s Style
Features:
• Master of orchestration
• Would often combine main themes together
• Provided clear musical markings for performance
• Melodies very expressive
Symphony Fantastique
Symphony in 5 movements with a recurring theme
Idee Fixe
Berlioz distributed programme notes to the audience
We study movement II and IV
Movement II is The Ball
Movement IV is The March to the Scaffold
Second Movement
The Ball – Basic Details
Ternary Form ABA1
Allegro non Troppo
Lively but not too much
Accompaniments
A Major
3/8 Time
Changing
Orchestration with
theme changes
Waltz
Theme
Introduction and Coda
Second Movement
Un Ball – A Section
Theme
Key
Bar
1A
A Major
36
1B
A Major
54
1C
A Major
66
1A
A Major
94
Second Movement
Un Ball – A Section – 1A
Bars 36-54 – A Major – 16 bar melody on 1st violin
Second Movement
Un Ball – A Section – 1B
Bar 56-66 – A Major – 11 bars on 1st violin
accompanied by strings and harp
Second Movement
Un Ball – A Section – 1C
Bars 66 – 93 – A Major 10 bar melody on violin
accompanied by viola and cello (2 Phrases)
Second Movement
Un Ball – A Section – 1A
Bars 94-120 16 bars extended on 1st violin with
orchestral accompanied – A Major – F Major
No upbeat
No slow down in bar 104
Theme extended by 11 bars
Modulation to F Major
Second Movement
Un Ball – B Section – Idee Fixe
Bars 121- 175 – Idee Fixe on 1st Flute and Oboe
Transition from F Major to A Major
Second Movement
Un Ball – A1 Section – 176-256
Theme
Key
Bar
1a – No lead in
1b – 2 harps
A Major
176
1c
A Major
203
1a - Extended
A Major
233
Link and Coda
Bars 257 – 301
Coda – Bars 302 – 368
Bar 302 – 18 bars 1st clarinet Idee Fixe
Link to Movement with Notes
Orchestra Playing Berlioz
Movement IV – Marche au Supplice
Allegretto non troppo – a little lively but not too much
Theme
Key
Bar
Introduction
G minor
1-16
Exposition
G minor-Bb major
17-77
Development 1
G min - Bb maj - G min
78-113
Development 2
G min – Db maj
114-139
Coda
G min – G maj
140-178
Movement IV – Marche au Supplice
Basic Facts
Section
Theme
Key
Feature
Introduction
Foreboding beat
G minor
Timpani
Triplet Chord
Exposition
2 Octave Descending
Theme
March Theme
2 Counter-Subjects
G minor-Bb major
Counter Subject 1 and 2
Development 1
March Theme
Descending Theme
March Theme
G min - Bb maj - G min
Pedal Note
Development 2
Descending Theme
Inverted
G min – Db maj
ff
Rising Motifs
Coda
2nd and 1st Countersubjects
Idee Fixe
G min – G maj
Antiphonal
Juxtaposition of chords
Themes
Descending Theme
Countersubjects
Countersubjects
March Theme
March Theme
Idee Fixe
Idee Fixe