Program Music

Revival of program music in the late 19th century (late Romantic period.) Program music: materials & techniques are employed with the intent of depicting an extra- musical phenomenon. For example –A dramatic incident –A poetic image –A visual object –An element in nature

These things not only provided the general suggestive impulses, but also became the dominating ideas in the musical composition. Other music composed during this time was called absolute music. –M–Music conceived by the composer & understood by the listener without reference to extra-musical features. Program music extends back into the medieval & Renaissance eras.

Hector Berlioz

Grenoble, France Father wanted him to be a doctor, but it didn’t happen. He spend more time at opera houses & music halls. Berlioz fell in love with Harriet Smithson, an English actress; she was playing Ophelia in Hamlet when Berlioz saw her. He tried to meet her but was rejected as a lunatic. He continued studying music & on his 5th attempt, he won the prestigious Prix de Rome. (1830)

Also in 1830, he finished his major & only widely-known composition, Symphonie Fantastique. –The “symphony” reflected his passion for Smithson. –After hearing it, she was so impressed that she married him. –Several years later though, they separated (stormy relationship.) Berlioz had difficulty in getting his works performed. He believe in BIG productions (200 instruments in orchestra; 300 singers in the chorus; rather impractical.)

As a conductor, he added new instruments to the orchestra. He wrote some pieces for new & redeveloped instruments. His greatest contribution to music: getting sound out of an orchestra (orchestration.) Many of Berlioz’s ideas were grandiose & proved to be impractical for the time period. Tone color was more prominent in his music than melody & harmony. In 1844, he wrote an important treatise on orchestration & tone color.

3 characteristics of Berlioz’s music –Passionate emotionalism –Daring experimentation –Rich imagination Berlioz wrote many dramatic symphonies, many on the works of Shakespeare & some on the works of Goethe (story of Faust.) –Dramatic symphony: similar to the oratorio; not religious in nature. His major works are immense & dramatic.

Major Works Symphonie Fantastique Romeo & Juliet (dramatic symphony) King Lear Overture Beatrice et Benedict (opera) Waverly & Rob Roy Overtures (based on novels by Sir Walter Scott) Harold in Italy (symphony based on a poem by Byron.)

Symphonie Fantastique

5 Movements I.Reveries, Passions II.A Ball III.Scene in the Country IV.March to the Scaffold V.Dream of the Witches’ Sabbath

Background Story A young musician poisons himself with opium in a fit of lovesick despair; it’s not enough to kill him, just make him sick. He has strange visions that are transformed into musical thoughts & images. His “loved-one” becomes a melody (an idee- fixe: a fixed idea or fixation.) This melody will appear in all 5 movements when the musician thinks of the “loved-one.”

The idee-fixe is also known as a signature theme. It is a theme (melody) or motto that is repeated, with or without variation during a musical composition. ➢ The idee-fixe gives the piece musical unity since it appears in each movement. ✿ The orchestra portrays a wide range of images & emotional states.

Part I: Reveries, Passions He recalls the soul-sickness, depressions, & groundless joys he experienced before he first saw his love one. Music then reflects the volcanic love that she suddenly inspired in him. Swirling sounds indicate the frenzied suffering, jealous rages he experiences The music also shows his returns to tenderness & his religious consolations.

Part II: A Ball Waltz-like flavor He encounters his beloved at a party (music sounds like the tumult of a brilliant party.) Harps & percussion Violin—tremolo Pay attention to the finale.

Part III: Scene in the Country Slow, pastoral movement. Gentle & calm Country scenery, quiet rustling of the trees gently brushed by the wind Gives the young musician an unaccustomed calm. The movement ends on a note of loneliness.

Part IV: March to the Scaffold Scaffold = guillotine He dreams he has killed his loved one & is condemned to death. Rather somber & fierce then brilliant & solemn Has a military sound to it as the young composer is marched to his death. The idee-fixe returns—he sees his loved one in the crowd and then…CHOP the blade of the guillotine strikes.

Bassoons play the melody Sound effects depicting elements of the story Listen for the snarling sound made by the trombone.

Part V: Dream of a Witches’ Sabbath Noises represent ghosts, sorcerers, monsters, witches & other types of ghouls; there are groans, bursts of laughter, distant cries. He sees himself in the midst of this frightful gathering, which turns out to be his funeral. The beloved melody appears again, but it has no character or nobility; it is trivial, mean, & grotesque. “She” has come to take part in the devilish orgy.

Listen for the funeral knell (bells tolling at midnight) There is a parody of a Dies Irae (from the requiem; Day of Wrath) The witches dance a “round dance” that is supposed to sound like a fugue, which combines the funeral knell & the Dies Irae.