Berlioz - Harold in Italy Flashcards

1
Q

When did Berlioz compose Harold in Italy - a symphony in four movements with a part
for solo viola?

A

In 1834

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2
Q

Which poem was Harold in Italy based on?

A

Byron’s poem ‘Childe Harold’s Pilgrimage’, a ‘childe’ here
signifying a candidate for knighthood. The poem describes the travels and reflections of a world-weary young man looking
for distractions in foreign lands.

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3
Q

Why did Paganini refused to perform Harold in Italy?

A

He felt the solo part did not
have enough for him to play.. In Berlioz’s day, a concerto was a composition with a solo part, usually virtuosic,
accompanied by orchestra. Berlioz, however, wrote a non-virtuosic solo viola part, even though it was intended
for Paganini, the leading virtuoso of the time.

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4
Q

Is Harold in Italy a symphony or a concerto?

A

The work is really a symphony rather than a concerto.

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5
Q

How is influence of folk music from the Abruzzi Mountains clear in Harold in Italy, Movement III?

A

From the use of drones, modal inflections and saltarello rhythms.

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6
Q

What is the Idée fixe in Berlioz - Harold in Italy, Movement III?

A

It’s a theme first heard in the Adagio part of movement I that reappears
in later movements, to represent Harold

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7
Q

What is the idée fixe actually labelled as at its first appearance in Harold in Italy, movement III (bar 65, viola solo)?

A

‘Thème de l’Adagio’

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8
Q

What’s the instrumentation in Harold in Italy, Movement III?

A

Typically for Berlioz, a large orchestra is used in Harold in Italy, but there is a
reduction in movement III.

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9
Q

What is unusual about the scoring for Harold in Italy, Movement III?

A

It includes piccolo,
cor anglais, four horns, harp and divided violas (without the heavier brass and
percussion.

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10
Q

How does Berlioz use Violas in the opening of Harold in Italy, Movement III?

A

They are divided at the opening to enable

the lower part to play open-string drones while the upper part plays melodic material.

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11
Q

What do the piccolo and the oboe represent at the beginning of Harold in Italy, Movement III?

A

Pifferi (rustic oboes)

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12
Q

What does it simulate when the violins and cellos play pizzicato, and there is double stopping in the violins at the Allegretto (bar 32) in Harold in Italy, Movement III?

A

This
simulates the sound of plucked instrumental accompaniment (guitar-style) in this
serenade ‘of a mountaineer…to his Mistress’.

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13
Q

What does the clarinet do at bar 48 of Harold in Italy, Movement III?

A

It uses the (low) chalumeau register with broken-chord figures.

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14
Q

What do the strings do at bar 3 of Harold in Italy, Movement III?

A

All the strings return to ‘arco’

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15
Q

For the final very quiet section of Harold in Italy, Movement III, what do the strings do?

A

They play with mutes (‘con sord[ini]’)

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16
Q

In the final very quiet section of Harold in Italy, Movement III, what does the harp do?

A

It plays harmonics, indicated by the circles above the notes.

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17
Q

Overall, what is the difficulty of the viola part in Harold in Italy, Movement III?

A

Overall, the technical demands of the solo viola part are fairly limited, the most
demanding feature being the semiquaver staccato writing with alternating pitches an
octave apart (from bar 99).

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18
Q

What is the prevailing texture of Harold in Italy, Movement III?

A

Melody-dominated homophony, with variations in scoring and

layout.

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19
Q

Who has the main melodic material in the opening passage of Harold in Italy, Movement III?

A

The main melodic material in the opening passage (from bar 4) is played in octaves
by the 1st oboe and the piccolo (the piccolo sounds an octave higher than written).

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20
Q

Who has the countermelodic material in the opening passage of Harold in Italy, Movement III?

A

A countermelody is played by the 1st violas.

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21
Q

What does the accompaniment (from bar 1) consist of in Harold in Italy, Movement III?

A
A drone (double pedal) on C and G in
long notes in 2nd oboe, clarinets and bassoon. The violas play the same notes, but to a lovely rhythm. The bassoon maintains a pedal C throughout this section
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22
Q

At the Allegretto (bar 32), which part plays the serenade theme, and what is the accompaniment (in Harold in Italy, Movement III)?

A

The serenade theme is in the solo cor anglais, with strings

providing a homophonic accompaniment. Note also broken-chord figures in the (divided) violas.

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23
Q

At bar 53 what is the melody of Harold in Italy, Movement III?

A

The main melody woodwind. Strings play a chromatic

countermelody in octaves, while (second) clarinet and (first) horn provide a third part

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24
Q

What happens melodically at bar 60 of Harold in Italy, Movement III?

A

The two horns in C play a horn-call version of part of the Serenade theme
in 3rds and 6ths. The accompaniment is similar to that of bar 32. The idée fixe in
long notes on solo viola provides an additional strand from bar 65

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25
Q

What happens melodically at bars 79-85 of Harold in Italy, Movement III?

A

At bars 79‒85 there is brief dialogue between woodwind instruments, beginning with
cor anglais and oboe, then clarinet, flute and piccolo, and finally bassoons, playing in
octaves

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26
Q

What happens melodically at the second Alegretto (bar 166) of Harold in Italy, Movement III?

A

Berlioz combines various themes and ideas
previously heard separately (see also under ‘Structure’). Note the opening drone
accompaniment ( in both sets of violas), the idée fixe in the flute (doubled by harp
harmonics) in much longer notes than before, and the serenade theme (viola solo)

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27
Q

What happens melodically at bars 202-206 of Harold in Italy, Movement III?

A

There is a monophonic statement of the serenade theme in the solo
viola.

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28
Q

What does this movement (Movement III) of Harold in Italy replace that was normally included in a symphony in Beethoven’s time and afterwards?

A

The Scherzo movement. The scherzo (which had evolved from the
Minuet and Trio) usually also had an overall A B A structure.

29
Q

What structure does Harold in Italy, Movement III have?

A

It has a broad A B A structure, with the addition of a coda in which
elements of both sections are combined, so expanding on the traditional structure.

30
Q

When is ‘Section A: Allegro assai’ in Harold in Italy, Movement III

A

Bars 1–31

31
Q

When is ‘Section B: Allegretto’ in Harold in Italy, Movement III?

A

Bars 32–135

32
Q

When is there an exact repetition of ‘Section A: Allegro assai’ in Harold in Italy, Movement III?

A

Bars 136–165

33
Q

When is ‘Extended coda: Allegretto’ in Harold in Italy, Movement III?

A

Bars 166–208

34
Q

What is the structure of ‘Section A: Allegro assai’ in Harold in Italy, Movement III?

A

There is a drone, saltarello rhythm and ‘pifferi’ melody in C major

35
Q

What is the structure of ‘Extended coda: Allegretto’ in Harold in Italy, Movement III?

A

A combination of various elements:
1. The saltarello rhythm of the Allegro assai is continued and
maintained in violas throughout.
2. The solo viola plays the serenade theme (which is at times quite
fragmented)
3. The idée fixe is now played by the flute, doubled by harp
harmonics, again with long note values.

36
Q

What is the structure of ‘Section B: Allegretto’ in Harold in Italy, Movement III?

A

32: Melody with irregular phrase structure of 7, 7, 4 and 7 bars.
65: The idée fixe is combined with Serenade material. The music
gathers pace from 71 with a semiquaver pattern in the cellos.
upbeat to 100: The serenade theme in D minor.
122: Final references in this section to serenade theme in C major.

37
Q

What is overall tonality of Harold in Italy, Movement III?

A

C major

38
Q

What shows the tonality of Harold in Italy, Movement III?

A

There are clearly defined cadences
throughout the movement with comparatively limited modulation, something perhaps
intended to reflect the folk character of the piece.

39
Q

How is the tonality of the Allegro assai clearly defined in Harold in Italy, Movement III?

A

By the constant tonic pedal C in the
bassoon and for much of the time by the double pedal (drone) in the second violas (C
and G, tonic and dominant)

40
Q

What are the occasional chromaticisms in Harold in Italy, Movement III?

A

Occasional B flats alternate with B naturals. These do not represent F major, but are
chromatic notes in C major – or perhaps modal inflections.

41
Q

When is there a brief visit to G major in Harold in Italy, Movement III?

A

In bars 88‒96

42
Q

When does the only strong modulation occur in Harold in Italy, Movement III?

A

With the return of the serenade theme at bar100
in D minor (following an imperfect cadence in that key). This cadence had been
preceded by a few bars of music in G major

43
Q

What is the tonality of the serenade theme in Harold in Italy, Movement III?

A

C major

44
Q

From when onwards does Harold in Italy, Movement III remain in C major?

A

From the return of the serenade theme in bar 123

45
Q

Essentially, what is the harmonic language in Harold in Italy, Movement III?

A

It’s essentially diatonic and broadly functional, with some

chromaticism, which may involve occasional diminished seventh chords (as in bar 82)

46
Q

What is the harmony of the opening Allegro assai in Harold in Italy, Movement III??

A

It is built on a tonic pedal C. With pedals
there are normally changes of harmony which create dissonance. Here we see, for
example, chords IV in bar 14 and V7 in bar 19

47
Q

What is the harmony in the Serenade section of Harold in Italy, Movement III?

A

In the Serenade section (from bar 32), there are five bars of C major chord I, and
there is a perfect cadence in bars 46‒47. In between there is a strange progression
involving Ic and V in A minor, but no cadence in that key.  The second part of the serenade from bar 51 is more chromatic, especially the very
original and striking bars 53‒59.

48
Q

What is the opening Allegro assai (Saltarello) based on in Harold in Italy, Movement III?

A

A folk-like melody.

49
Q

What is notable melodically about the opening Allegro assai (Saltarello) in Harold in Italy, Movement III?

A

Repeated notes, Conjunct movement, Range of a 9th, but with no interval greater than a third within phrases, Grace note As (acciaccaturas) colour the repeated Gs, The melody is largely centered around the note E, The B flat can be regarded as a chromaticism or as a (Phrygian) modal inflection, There are one-bar cells, leading to irregular phrasing, Some inversion of basic material.

50
Q

Where is the melody of the serenade (Allegretto) in Harold in Italy, Movement III?

A

In the cor anglais (sounding a fifth below

written pitch).

51
Q

What does the melody of the serenade (Allegretto) in Harold in Italy, Movement III open with?

A

It opens with an arpeggio figure on the tonic C major chord with the added auxiliary note A.

52
Q

The melody of the serenade (Allegretto) in Harold in Italy, Movement III opens with an arpeggio figure on the tonic C major chord with the added auxiliary note A. What is this followed by?

A

This is followed by a falling third reminiscent of the idée fixe, which opens with a falling 3rd and falling 6th. Here the falling 6th is delayed by the E (sounding A) resolving to the D# (sounding G#)

53
Q

When dies a clear falling sixth occur in Harold in Italy, Movement III?

A

In the second phrase at b. 45

54
Q

Irregular phrase lengths occur in the Serenade theme of Harold in Italy, Movement III. What are these phrase lengths?

A

They have 7+7+4+7 bar lengths.

55
Q

When does the viola introduces the idée fixe in Harold in Italy, Movement III, and what then happens?

A

The viola introduces the idée fixe at b. 65. This is then repeated a 4th higher with upper strings doubling the viola with a complete use of the first four bars of the Harold theme. The second section of the idée fixe is then presented at b. 85, characterized by falling third and then falling fifth starting on G.

56
Q

In the final Allegretto (coda) of Harold in Italy, Movement III, the Harold theme (idée fixe) is heard complete in which key and on what instrument?

A

It is heard in C played by the flute and harp in long notes. 

57
Q

In the final Allegretto (coda) of Harold in Italy, Movement III, how is the serenade theme played?

A

The serenade theme is fragmented with the broken chord opening isolated, then repeated in D minor.

58
Q

After two bars rest in the final Allegretto (coda) of Harold in Italy, Movement III, what is played?

A

After two bars rest the falling 3rd is played twice, and the falling 6th once.

59
Q

In the final Allegretto (coda) of Harold in Italy, Movement III, material based on b. 48 is played. How is the final bar then developed?

A

The final bar is further developed by the viola playing a descending sequence based on the motif of b. 52 (b. 182-185).

60
Q

After the viola plays a descending sequence based on the motif of b. 52 (b. 182-185) in Harold in Italy, Movement III, what then happens to the saltarello theme?

A

The saltarello theme is then fragmented, with the figure in b. 194-195 repeated an octave lower in b. 195-196.

61
Q

What is the metre throughout Harold in Italy, Movement III?

A

It is compound duple (6/8).

62
Q

How does the tempo of the Allegro assai introduction differ to that of the Allegretto in Harold in Italy, Movement III?

A

The tempo of the Allegro assai introduction is double that of the Allegretto

63
Q

In Harold in Italy, Movement III, the tempo of the Allegro assai introduction is double that of the Allegretto. Why is it important that this is maintained?

A

It is important that this is maintained as the final Allegretto has both tempi running simultaneously. Here the violas play the opening rhythmic ideas in two bars against one bar of the slower Serenade theme.

64
Q

Sum up the rhythm of the opening Allegro assai of Harold in Italy, Movement III.

A

The rhythm of the opening Allegro assai is a contrast of long note values in the lower woodwind (a pedal C in the bassoon) against the energetic dance rhythms in the viola. The melodic ideas of the piccolo and oboe have dotted rhythms and accents on the second beat of the bar.

65
Q

Sum up the rhythm of the Serenade theme of Harold in Italy, Movement III.

A

The Serenade theme exploits the possibilities of mixing 3/4 and 6/8, evident in the third bar of the melody where two quavers are followed by a minim, b. 37-38. As the theme recurs many times this is a strong characteristic of the whole movement. In b. 132 this idea is ornamented with semiquavers. Semiquavers are also used to provide a lively accompaniment in the cello at b. 71 – 95, and in the clarinet accompaniment at b. 48.

66
Q

Where do triplet semiquavers appear in Harold in Italy, Movement III?

A

One example would be bar 77

67
Q

When are the most dramatic moments for the soloist in Harold in Italy, Movement III?

A

The most dramatic moments for the soloist involve the repeated semiquaver octave leaps (b. 99) which also hint at simple triple 3/4 metre.

68
Q

How is there a hint of rhythmic augmentation in b. 192?

A

There is a hint of rhythmic augmentation in b. 192 as the final motif is turned from semiquavers to quavers to complete the phrase.