Berlioz' 'Symphonie Fantastique'

Berlioz' 'Symphonie Fantastique'

1. M I - 'Reveries - passions'

   • Thematic Transformation - idee fixe. solo flute and vl I, accompanied by heart palpatation figure - rest diminish as the theme builds in intensity. C maj, 4/4
   • slow, then allegro
   • maj/min fluctuation - starts in C minor, but 1st subject/IF is in C maj

2. MII - 'Un Bal'

   • Tonally ambiguous introduction - A min, F maj, A maj - Terzvanwandschaften (keys a 3rd apart)
   • waltz - 3/8
   • 2 harps - interesting orchestration, grand scale is typical or Berlioz
   • light timbre - lyrical waltz theme played by vln I, vc + db 'oom' and vla + vln II 'cha cha'
   • principles of klangfabenmelodie are used to accompany waltz theme: 1 - strings, 2 - harps, 3 - woodwind/horns

3. M III - 'Scene aux champs'

   • oboe plays off stage at intro - sound is less clear
   • Storm - texture = 4 timp + c.a. therefore sparse. strom answers cowheards cries. Timp tuned to F Ab C Bb and have sudden dynamic surges - v. unusual to use as an instrument in their own right, and 4 of them. Ends with unexpected string a horn F maj perfect cadence
   • Ranz des vaches - dailogue between c.a. and ob (8ve apart), F maj however vla tremolo accomp gives an indeterminate sense of key, sparse texture to represent vast landscape
   • Brook - F maj, vl II and vla rippling idea in 3rds accompanies a lyrical cl melody with fl + vln I ornamented bird calls, then vln I demisemiquaver ripples with vla down 3 repeated demisemiquaver doublestopping accompanying woodwind brook theme and vln II IF
   • slow, 6/8

4. M IV - 'Marche au Supplice'

   • dark timbre (intro) timp sextuplets + vc + db pizz G minor chords every 1st and 3rd beat
   • dark timbre - Ist sub - vc + db descend G minor scale, later with vla 3rd above and bsn counter melody (later bsn play stacatto)
   • march - dotted rhythms + fanfare ideas in valved horn, horn 3+4 and woodwind, accompanied by manacing string ostinato (sense of drive)
   • contrast: 1) polyrhythms - string triplets and everyone else dotted quavers. 2) g min/Db maj chord in quick sucession - B specifies the music is right
   • thematic transformation - truncated (4 bars long), solo clarinet and no heart beats, G maj but interrupted by G min tutti chord, head rolling = string pizz notes following, IF held in reserve for dramatic impact
   • fast
   • 1st sub = G min, 2nd sub = Bb maj (terzverwandschaften), G maj after excecution

5. M V - 'Songe d'une Nuit du Sabbat'

   • timbre
     • pic, ob + fl gliss down an octave - haunting effect
     • piccolo cl + pic play IF (8ve apart) = shrill + distorted
   • texture
     • fugal string build up, starting with vc and bass drum and going upwards
     • intro - vlns and vlas have subdivided (3,3,2) and play a tremolo dim 7th chord, the descend chromatically with peg staccatos pp
     • RD v DI - RD = strings, DI = woodwind, brass and timp. DI moves each bar, RD uses 6/8/ dance rhythms
   • thematic transformation - IF = pic. clarinet with distorted melody and ornamented in Eb maj. accomp by cl and ob (crotchet quaver etc), builds with bsn + vc rising semis answered by vla falls, picc doubles pic. cl 8ve above
   • DI (plain song, requiem for dead) - diminution = c20 technique. 1st op + bsn + church bell accomp, 2nd dim brass (3rds), 3rd dim woodwind and high strings (3rds), all repeated twice with addition of low string and bass drum heterophony for 1st.
   • slow, then fast dance
   • use of church bells (v unusual), also uses ophiclide (instrument before tuba)
   • terzverwandscaften - RD = C maj, DI = Eb maj