Nineteenth-Century Symphony. Dan Grimley email@example.com. Lecture 1. Antiphonies: Schubert, Berlioz. Studying the Nineteenth-Century Symphony: Some historical/analytical problems Genre Tradition Inheritance Form Expression/Affekt Sources Reception.
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Studying the Nineteenth-Century Symphony: Some historical/analytical problems
1. teleology [goal direction] and thematic manipulation
2. monumentality and seriousness
[Cf. Beethoven precedent in piano sonatas op. 54, 90, 111.]
Bars Formal Section Key Texture/Affekt
1-38 Intro+P-Space bminor: closed Lied texture
39-41 TR i-V/G horn calls
42-104 S-Space (EEC) G major! Ländler
111-217 (P material) E minor ‘Wild ride’, bb. 184-212
REPRISE (n.b. introduction omitted!)
218-252 P-Space bminor—V/b (open) Lied texture
252-255 TR V—V/D horn calls
256-322 S-Space (ESC) D—b!Ländler
328-360 CODA bminor Introduction returns
Berlioz was less concerned with purity of the symphonic genre as he inherited it than with the symphony as a forum for experiment and progress towards his own ideals as a composer of dramatic music [p. 108]
1. Rêveries. Passions (key: C)
2. Un bal (A)
3. Scène aux champs (F)
4. Marche au supplice (g)
5. Songed’unenuit du Sabbat (C)
Finding himself one evening in the country, [the artist] hears in the distance two shepherds piping a ranz des vaches in dialogue. This pastoral duet, the quiet rustling of the trees gently brushed by the wind, the hopes he has recently found some reason to entertain—all concur in affording his heart an unaccustomed calm, and in giving a more cheerful colour to his ideas. He reflects upon his isolation; he hopes that his loneliness will soon be over.—But what if she were deceiving him!—This mingling of hope and fear, these ideas of happiness disturbed by black presentiments, form the subject of the Adagio. At the end one of the shepherds again takes up the ranz des vaches; the other no longer replies.–Distant sound of thunder—loneliness–silence.