Symphony Fantastique Hector Berlioz Web

Romantic Features Texture How melodies and harmonies are arranged Textures changed quickly Usually homophonic texture with some polyphonic Melody Long expansive melodies Modulations/dramatic leaps/chromatic movement

Instruments Orchestra was big Combinations of instruments Piano used a lot Form Movements extended Rules relaxed to allow expression Pieces depicted emotions Romantic Features

Features Wide dynamic range Modulation Use of leitmotiv Doubling of parts Romantic Features

The Romantic Period Paris became the most important city for Romantic music In Romantic music fantasy and expression are more important than balance and symmetry of Classical period The composers of the Romantic period sought to create Drama Describe an emotion Paint a scene

Romantic Style Texture – changed quickly from section to section Melody – long expansive melody which include unusual modulations Instruments – Orchestras became much bigger Form – Usual forms were in use but were extended Features – Included wide ranges, modulation to non-related keys, the use of leitmotiv – a recurring theme

Berlioz’s Style Features: Master of orchestration Would often combine main themes together Provided clear musical markings for performance Melodies very expressive

Symphony Fantastique Symphony in 5 movements with a recurring theme Idee Fixe Berlioz distributed programme notes to the audience We study movement II and IV Movement II is The Ball Movement IV is The March to the Scaffold

Second Movement The Ball – Basic Details Ternary Form ABA1A Major3/8 Time Changing Orchestration with theme changes Introduction and Coda Waltz Theme Accompaniments Allegro non Troppo Lively but not too much

Second Movement Un Ball – A Section ThemeKeyBar 1AA Major36 1BA Major54 1CA Major66 1AA Major94

Second Movement Un Ball – A Section – 1A Bars – A Major – 16 bar melody on 1 st violin

Second Movement Un Ball – A Section – 1B Bar – A Major – 11 bars on 1 st violin accompanied by strings and harp

Second Movement Un Ball – A Section – 1C Bars 66 – 93 – A Major 10 bar melody on violin accompanied by viola and cello (2 Phrases)

Second Movement Un Ball – A Section – 1A Bars bars extended on 1 st violin with orchestral accompanied – A Major – F Major No upbeat No slow down in bar 104 Theme extended by 11 bars Modulation to F Major

Second Movement Un Ball – B Section – Idee Fixe Bars – Idee Fixe on 1 st Flute and Oboe Transition from F Major to A Major

Second Movement Un Ball – A1 Section – ThemeKeyBar 1a – No lead in 1b – 2 harps A Major176 1cA Major203 1a - ExtendedA Major233

Link and Coda Bars 257 – 301 Coda – Bars 302 – 368 Bar 302 – 18 bars 1 st clarinet Idee Fixe Link to Movement with Notes Orchestra Playing Berlioz

Movement IV – Marche au Supplice Allegretto non troppo – a little lively but not too much ThemeKeyBar IntroductionG minor1-16 ExpositionG minor-Bb major17-77 Development 1G min - Bb maj - G min Development 2G min – Db maj CodaG min – G maj

Movement IV – Marche au Supplice Basic Facts SectionThemeKeyFeature IntroductionForeboding beatG minorTimpani Triplet Chord Exposition2 Octave Descending Theme March Theme 2 Counter-Subjects G minor-Bb majorCounter Subject 1 and 2 Development 1March Theme Descending Theme March Theme G min - Bb maj - G minPedal Note Development 2Descending Theme Inverted G min – Db majff Rising Motifs Coda2 nd and 1 st Countersubjects Idee Fixe G min – G majAntiphonal Juxtaposition of chords

Themes Descending Theme

Countersubjects

March Theme

Idee Fixe