Berlioz - SDC music resources

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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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 2 Un 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 Bal

Summary 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 4 Marche 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 Supplice

Summary of thematic material  

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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 Supplice

Summary 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  

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Set B works examined 2002 – 2004 & 2008 -2010 Symphonie Fantastique 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?....