Harold in Italy - Berlioz

Question 1

Tonality

Answer 1

The tonality of the Allegro assai is clearly defined by the constant tonic pedal C in the bassoon.
There are modal inflections (B flat).

The serenade theme is also in C.

The only strong modulation occurs with the return of the serenade theme at b100in D minor.

From the return of the saltarello material in bar 136 to the end, the music remains in C major

Question 2

Performance forces

Answer 2

Uses romantic era symphony orchestra without, trumpets, cornets, trombones and percussion

Horns are in different keys

At b. 53 all the strings return to “arco” (playing with the bow)

For the final section the strings also play with mutes (con sordini).

Question 3

Texture

Answer 3

Bar 32 Allegretto strings play homophonic accompaniment to serenade theme. Violins and cellos play pizzicato while violas maintain broken chord.

Bar 53 strings play octaves in chromatic counter melody to woodwind

Bar 60 horns play call version of serenade theme.

Bar 79-80 brief dialogue between cor anglas/oboe, flute/piccolo playing in octaves

Bar 202-206 monophonic statement of serenade theme

Question 4

Structure

Answer 4

Movement replaces scherzo in standard symphony.

Has broad ABA structure.

Section A: b1-31 allegro assai

Section B: b32-135 Allegretto

Section A: b136-165

Extended Coda: b166-208 Allegretto

Question 5

Harmony

Answer 5

Diatonic with some chromatic inflections

Chords in all inversions - some stock progressions

Harmony in Allegro assai is built on tonic pedal C

Serenade section imperfect cadence A minor with 4-3 suspension

Theme ends with perfect cadence in C at b46-47

key seems briefly in G minor b53-54

Question 6

Melody

Answer 6

The opening Allegro assai (Saltarello) is based on a folk-like melody characterized by:
Repeated Notes
Conjunct movement

The melody of the serenade (Allegretto) is in the cor anglais:
It opens with an arpeggio figure on the tonic C major chord with the added auxiliary note A.
Chromaticism bar 49

The viola introduces the idee fixe at bar 65
The long note values of the Harold theme do not match the rhythm of the original theme but the pitch is exactly the same as that of the original’s first three bars.

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

Question 7

Rhythm

Answer 7

The metre throughout is compound duple (6/8).

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

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.

In b. 132 this idea is ornamented with semiquavers.

Semiquavers are also used in the clarinet accompaniment at b. 48.

Triplet semiquavers also appear (e.g. b. 77)