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Berlioz. Symphonie Fantastique. Overall perspective for studying this work. Keep end goal in sight – this will be a 25 mark or a 10 mark Q. Movements to be studied are No. 2 – Un Bal and No. 4 – Marche au Supplice. Relate each movement to the Programme – the story is being told.
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Berlioz Symphonie Fantastique
Overall perspective for studying this work Keep end goal in sight – this will be a 25 mark or a 10 mark Q. Movements to be studied are No. 2 – Un Bal and No. 4 – Marche au Supplice. Relate each movement to the Programme – the story is being told. Both movements are in clear precise forms.
Berlioz A French romantic composer. Compositions reflect his deeply emotional nature and his passion for life and love.
Features of Romanticism Emotionalism Self-Expression Individuality Nationalism Programme Music Large orchestra Expanded forms, dynamic ranges etc
Berlioz the composer Innovative. Flexible approach to form and structure. Aware of possibilities of drama and expression. A leading authority in orchestration, tone-colours and timbre.
The Symphony Grew out of fast-slow-fast Italian overture. Established as a 4-movement form in Classical period by composers such as Haydn & Mozart. Expanded further by Beethoven, becoming dramatic & expressive. Developed in the Romantic period into the programme symphony, often with 5 movements.
Symphonie Fantastique 5 movements Programmatic Innovative Each movement titled and telling story of Berlioz’ dreams with regard to his infatuation with Harriet Smithson. Movements are threaded together by the idee fixe - a recurring theme representing Harriet.
The Programme The story is a window which invites the listener into the work. Be familiar with the images Berlioz is portraying in each movement. Be able to visualise the images in the music of movements 2 & 4. This leads to easier examination and analysis of the required movements.
Orchestration Examine scoring. Instruments are included for what they can add to the drama of the programme. Pay attention to transposing instruments.
Movement 2Un Bal – The Ball Imagine the ballroom scene. An elegant waltz. Ternary form. Based on a single extended theme which sub-divides into 3 distinct parts. Includes two appearances of the Idée Fixe.
Un BalSummary of thematic material Theme 1 - Bars 38 – 54. Theme 2 – Bars 56 – 66. Theme 3 – Bars 68 – 93. Each theme is immediately preceded by it’s own 2-bar introduction – these intro’s are a feature of this movement. Idée fixe appears at (1) Bar 120 and (2) at Bar 302.
Un Bal –Over-view of form Introduction – Bars 1 – 36. A Themes presented with their own unique intro’s. – Bars 36 – 115. A major. B Middle section contains Idée fixe presented by Flute and oboe. – Bars 116 – 174. F major. A Return of section A – richer texture. Bars 175 – 256 – A major. Coda – Contains lonesome reference to Idée fixe from clarinet – Bars 256 – 368 – A major.
Movement 4Marche au Supplice – March to the Scaffold Imagine the grim scene. Consider how the intense drama unfolds. Form of this movement evolves form start to end – from intro to coda. Based on two very distinct and distinctive themes. Idée fixe appears, as it does in every movement.
Marche au SuppliceSummary of thematic material • Theme 1 – the descending theme – with a 2-octave span appears bars 17 – 61, g minor. • It is heard 5 times here, at Bars 17, 25, 33, 41 & 49 – consider the changes in instrumentation and treatment of the theme in each rendition. • Theme 2 – the March theme – syncopated and scored for ww, brass & percussion appears bars 62 – 77, Bb major. • Idée fixe makes an appearance briefly – solo unaccompanied clarinet – distant and removed – Bar 164.
Marche au SuppliceSummary of form. • Introduction – Bars 1 – 16, g minor. • Theme 1 – ‘Descending Theme’ – Bars 17 – 61, g minor. • Theme 2 – ‘March Theme’ – Bars 62 – 77, Bb major. • Bars 1 – 77 are repeated in full. • Transition – combines March & Descending themes. Bars 78 – 113 – (nb. Numbering here is as given in score). • Development – g minor. Bars 114 – 139. • Coda – vibrant & exciting. Bars 140 – 178. Contains reference to Idée Fixe which appears on clarinet alone at Bar 164. Movement ends in G major.
The Exam • Set B works examined 2002 – 2004 & 2008 -2010 • SymphonieFantastique has appeared as follows 2002 – Q. 2 – 10 marks – Mvt. 4. 2003 – Q.1 – 25 marks – Mvt. 2. 2004 – Q.3 – 10 marks – Idée fixe Mvt 2. 2008 – Q. 1 – 25 marks – Mvt 4 2009 – Q 3 – 10 marks – Mvt 2 2010 – Q 2. 10 marks Mvt 4 • Topics raised include, instrumentation, key, cadences, treatment of themes, dynamics, what happens next?....
