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A Level Music > Berlioz 1830 > Flashcards

Berlioz 1830 Flashcards

1
Q

Context

A

Helped develop Romantic music, increased size of orchestra, innovative methods of orchestration

Time of revolution in France, more musical freedom to compose what composers wanted to

Treatise on Orchestration, significant impact on orch music, used by Mahler

Originally named Episode in the life of an Artist, autobiographical programmatic symphony

Overdoses on opium as a result of unrequited love from Harriet Smithson (actress), story written in programme notes and illustrated in 5 movements

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2
Q

Melody

A

Sonata form focuses on melodic contrast, based on 2 subjects
Idée fixe central to all 5 mv
Elements of IF used throughout
Lost song

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3
Q

Sonata form focuses on melodic contrast, based on 2 subjects

Idée fixe, central to all 5 mv

A

1st subject, expressive 6th leaps, descends conjunctly in a sighing manner over barline, represents B’s unhealthy obsession with HS

Forms basis of 2nd subject, share similarities, expressive 6th leaps with 2 semitone sighs
(Just after, Berlioz, Harold in Italy, Harold’s theme, similar melancholic melody)

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4
Q

Elements of idea fixe used throughout

A

Dev, asc, seq, build up excitement

Chromatic ascent built up to his explosive love
(After, Faust’s theme. Dr temped by devil, used in different ways)

Coda, idee fixe spread across orchestra, build up tension, compounded by range of dynamics

Religious consolation at the end, sermonlike, acceptance that HS won’t notice

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5
Q

Lost song

A

Intro, irregular phrase lengths, love unreturned, drifting in and out of consciousness (Before, cantata Herminie)

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6
Q

Harmony

A

Functional
However ends with many plagues
Pedals
Sig EP on chromaticism

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7
Q

Functional harmony, frequent perfect cadences

A

Confirm modulations

Just after, Berlioz, Harold in Italy

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8
Q

However, ends with many plagues

A

Religious consolation, brings closure to his almost religious obsession over HS,

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9
Q

Pedals

A

Tonic, chord changes around it, enharmonic equivalent of G# used to move the music to A min, v innovative, moves music to unexpected keys in intro
(Before, Haydn, 4th mv, London Symph, horn tonic drone, chord does not change around it)

Dominant, drive to perfect cadence to confirm modulation to G maj

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10
Q

Sig EP on chromaticism

A

Dim 7th, dissonance (4-3), express the pain that B feels. (After, Liszt, Faust Symph, intensely chromatic from the begining)

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11
Q

Texture

A 
High varied, characteristic of Romantic programmatic music
Unison
Homophonic chordal
Mel dom hom
Dialogue exchanges
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12
Q

Unison

A

Idee fixe presented in flute, 1sts, EP 1st sub

(Before, Beethoven, Symph 9, chorus all sing in unison)

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13
Q

Homophonic chordal

A

Religiousamente ending, collective sense of acceptance of his unrequited love
(Before, Beethoven, Symph 9, orchestral homophonic chordal interjections between B solo)

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14
Q

Mel dom hom

A

Strings accompany mel with repeated quaver chords on strong beats, reflects his rapid heart beat under the idee fixe (Before, Beethoven, Symph 3, wind play tune over string tremolo)

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15
Q

Dialogue exchanges

A

Melody passed from 1sts to lower strings, develop melodic fragment
(Same, Berlioz, Scene in the countryside mv 3, 2 shepherds pass melody between for anglais, offstage oboe)

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16
Q

Tonality

A

Sonata form focuses on key, melodic contrast, dictate tonality, use in more expressive than functional manner

Modulations to related keys, phrases shaped by perfect cadences

Starts to break the rules, more expressive

17
Q

Sonata form focuses on key, melodic contrast, dictates tonality, uses it in a more expressive than functional manner

A

(Just after, Berlioz, Harold in Italy, 3rd mv, used in this manner)

18
Q

Functional, modulations to related keys, phrases shaped by regular cadences

A

C maj 1st sub to G maj, dominant, rules of sonata form (Before, Beethoven, 6th Symph)

19
Q

Starts to break the rules, used in a more expressive manner

A

G maj 2nd sub has infections of E minor
(occasional Dsharps), express his underlying pain

Normally dev is highly modulatory,
(Before, Haydn, London Symph) B uses tonic key C maj, not ready to accept HS’s rejection

Recapitulation, normally both sub in tonic, B keeps both in G maj, returns home in coda, accepted that HS will not love him
(Before, Beethoven Symph 6, conventional)

20
Q

Structure

A 
Sonata form, usually used in 1st mv since Classical era
Intro
Exposition
Development
Recapitulation
Coda
21
Q

Introduction

A

Slow internal ternary intro, falling into drug induced coma,

Just after, Berlioz, Harold in Italy, similar melancholic character

22
Q

Exposition

A

1st, 2nd sub, bridge, each section expresses his undefinable passion
(Before, Beethoven, Symph 3)

23
Q

Development

A

Normally, 1st sub, high modulatory
V short, very tense near end, French Revolution, shun the rules
(After, Liszt, Faust Symphony)

24
Q

Recapitulation

A

Normally returns to 1st, 2nd subject, bring mv together (Before, Haydn’s London Symphony)
Most dev occurs here, heartbeat quavers change note here, diff to exp, B’s refusal to let go of his feelings

25
Q

Coda

A

Normally brings whole mv together
2nd dev, fragmented idee fixe spread around orchestra and ends religiously, express explosive love but accepts the truth in the end
(Before, Beethoven 2nd Symph used it in the same way)

26
Q

Rhythm, tempo and metre

A 
Tempo changes throughout
Metre changes from intro to rest of sonata
High varied rhythms
Pauses and rests
Extreme dynamic range
27
Q

Tempo changes throughout

A

Slow largo, becomes more lively, Allegro agitato e appasionato assai, reflect inner turmoil (unconscious, waking up in a dream)
(Before, Haydn, London Symph, 1st mv, Adagio to Allegro)

28
Q

Metre changes from intro to rest of sonata

A

Common time to cut common time, increases pace, moves story on
(Just after, Berlioz, Harold in Italy, 4th mv, cut time to 34)

29
Q

Highly varied rhythms

A

Crotchet triplets, creates cross rhythms

Cross rhythms also created by syncopation against straight crotchets
(Just after, Berlioz, Harold in Italy, 1st mv, 4 against 3 pattern)

Sextuplet semiquavers, creates excitement

Moto perpetuo crotchets, creates anticipation

30
Q

Pauses and rests

A

Fragment melody line with silence, create uncertainty (Before, Beethoven, Symph 7, start of last mv, dramatic pauses)

31
Q

Extreme dynamic range

A

ppp to ff, plenty of
Sudden sf markings, all reflect internal turmoil
(Same, Berlioz, 4th mv, dynamic changes build up excitement towards excecution)

32
Q

Sonority

A

Groundbreaking large symphony orchestra,, had numerous instrumental additions to the standard orchestra which expands further in other mvs

Very specific about articulation,

Woodwind, brass, more independent from strings in Classical era ,given melodies and countermelodies, reflect reveries and passions

Strings

Percussion

33
Q

Groundbreaking large symphony orchestra,, had numerous instrumental additions to the standard orchestra which expands further in other mvs (Harp in Ball)

A

(After, Liszt, Faust Symph, v similar instrumentation)

34
Q

Very specific about articulation,

A

Exploits different sororities

Before, Beethoven, Symph 5, v specific articulation marks in all parts

35
Q

Woodwind, brass, more independent from strings in Classical era ,given melodies and countermelodies, reflect reveries and passions

A

2 flutes, 1 picc, provides brighter orchestral sound
2 oboes
2 Bb clarinets, trans, common to double wind
4 bassoons, normally only 2
4 horns, Eb and C, v common in Romantic music both could only play the harmonic series so both used to cover a larger range of notes
2 C trumpets
2 G cornets a pistons, could play chromatic notes that trumpets can’t

36
Q

Strings and sonorities

A

At least 15, 10, 11, 9 in each section, massive string section
Con sordino from beginning, unconscious, dreamlike state, senza sordino, visions become clearer (After, Liszt, Faust Symph, uses muted strings, create mystery)
Tremolo, creates excitement in his dream, (Before, Beethoven, Symph 3, creates excitement)
Punta d’arco, light sounds express his aimless joys
Divisi writing and double corde, create a denser texture

37
Q

Percussion

A

2 Timps, C and G, tonic dominant
(Before, Beethoven, Symph 5, C and G timps)
Baguette de bois, d’eponge, hard and soft articulation

A Level Music (13 decks)

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