Berlioz 1830 Flashcards
Context
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
Melody
Sonata form focuses on melodic contrast, based on 2 subjects
Idée fixe central to all 5 mv
Elements of IF used throughout
Lost song
Sonata form focuses on melodic contrast, based on 2 subjects
Idée fixe, central to all 5 mv
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)
Elements of idea fixe used throughout
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
Lost song
Intro, irregular phrase lengths, love unreturned, drifting in and out of consciousness (Before, cantata Herminie)
Harmony
Functional
However ends with many plagues
Pedals
Sig EP on chromaticism
Functional harmony, frequent perfect cadences
Confirm modulations
Just after, Berlioz, Harold in Italy
However, ends with many plagues
Religious consolation, brings closure to his almost religious obsession over HS,
Pedals
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
Sig EP on chromaticism
Dim 7th, dissonance (4-3), express the pain that B feels. (After, Liszt, Faust Symph, intensely chromatic from the begining)
Texture
High varied, characteristic of Romantic programmatic music Unison Homophonic chordal Mel dom hom Dialogue exchanges
Unison
Idee fixe presented in flute, 1sts, EP 1st sub
(Before, Beethoven, Symph 9, chorus all sing in unison)
Homophonic chordal
Religiousamente ending, collective sense of acceptance of his unrequited love
(Before, Beethoven, Symph 9, orchestral homophonic chordal interjections between B solo)
Mel dom hom
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)
Dialogue exchanges
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)
Tonality
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
Sonata form focuses on key, melodic contrast, dictates tonality, uses it in a more expressive than functional manner
(Just after, Berlioz, Harold in Italy, 3rd mv, used in this manner)
Functional, modulations to related keys, phrases shaped by regular cadences
C maj 1st sub to G maj, dominant, rules of sonata form (Before, Beethoven, 6th Symph)
Starts to break the rules, used in a more expressive manner
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)
Structure
Sonata form, usually used in 1st mv since Classical era Intro Exposition Development Recapitulation Coda
Introduction
Slow internal ternary intro, falling into drug induced coma,
Just after, Berlioz, Harold in Italy, similar melancholic character
Exposition
1st, 2nd sub, bridge, each section expresses his undefinable passion
(Before, Beethoven, Symph 3)
Development
Normally, 1st sub, high modulatory
V short, very tense near end, French Revolution, shun the rules
(After, Liszt, Faust Symphony)
Recapitulation
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
Coda
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)
Rhythm, tempo and metre
Tempo changes throughout Metre changes from intro to rest of sonata High varied rhythms Pauses and rests Extreme dynamic range
Tempo changes throughout
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)
Metre changes from intro to rest of sonata
Common time to cut common time, increases pace, moves story on
(Just after, Berlioz, Harold in Italy, 4th mv, cut time to 34)
Highly varied rhythms
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
Pauses and rests
Fragment melody line with silence, create uncertainty (Before, Beethoven, Symph 7, start of last mv, dramatic pauses)
Extreme dynamic range
ppp to ff, plenty of
Sudden sf markings, all reflect internal turmoil
(Same, Berlioz, 4th mv, dynamic changes build up excitement towards excecution)
Sonority
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
Groundbreaking large symphony orchestra,, had numerous instrumental additions to the standard orchestra which expands further in other mvs (Harp in Ball)
(After, Liszt, Faust Symph, v similar instrumentation)
Very specific about articulation,
Exploits different sororities
Before, Beethoven, Symph 5, v specific articulation marks in all parts
Woodwind, brass, more independent from strings in Classical era ,given melodies and countermelodies, reflect reveries and passions
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
Strings and sonorities
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
Percussion
2 Timps, C and G, tonic dominant
(Before, Beethoven, Symph 5, C and G timps)
Baguette de bois, d’eponge, hard and soft articulation
