BerliozBerlioz

Symphonie Symphonie FantastiqueFantastique

Overall perspective for Overall perspective for studying this workstudying this work

Keep end goal in sight – this will Keep end goal in sight – this will be a 25 mark or a 10 mark Q.be a 25 mark or a 10 mark Q.

Movements to be studied are No. Movements to be studied are No. 2 – 2 – Un Bal Un Bal and No. 4 – and No. 4 – Marche au Marche au Supplice.Supplice.

Relate each movement to the Relate each movement to the Programme – Programme – the story is being the story is being told.told.

Both movements are in clear Both movements are in clear precise forms.precise forms.

BerliozBerlioz A French romantic A French romantic

composer.composer.

Compositions reflect his Compositions reflect his deeply emotional nature deeply emotional nature and his passion for life and his passion for life and love.and love.

Features of Features of RomanticismRomanticism

EmotionalismEmotionalism Self-ExpressionSelf-Expression IndividualityIndividuality NationalismNationalism Programme MusicProgramme Music Large orchestraLarge orchestra Expanded forms, dynamic Expanded forms, dynamic ranges etcranges etc

Berlioz the composerBerlioz the composer Innovative.Innovative. Flexible approach to form Flexible approach to form and structure.and structure. Aware of possibilities of Aware of possibilities of drama and expression.drama and expression. A leading authority in A leading authority in orchestration, tone-colours orchestration, tone-colours and timbre.and timbre.

The SymphonyThe Symphony Grew out of fast-slow-fast Italian Grew out of fast-slow-fast Italian overture.overture.

Established as a 4-movement form in Established as a 4-movement form in Classical period by composers such as Classical period by composers such as Haydn & Mozart.Haydn & Mozart.

Expanded further by Beethoven, Expanded further by Beethoven, becoming dramatic & expressive.becoming dramatic & expressive.

Developed in the Romantic period Developed in the Romantic period into the programme symphony, often into the programme symphony, often with 5 movements.with 5 movements.

Symphonie Symphonie FantastiqueFantastique

5 movements5 movements ProgrammaticProgrammatic InnovativeInnovative Each movement titled and Each movement titled and telling story of Berlioz’ telling story of Berlioz’ dreams with regard to his dreams with regard to his infatuation with Harriet infatuation with Harriet Smithson.Smithson. Movements are threaded Movements are threaded together by the together by the idee fixeidee fixe - a - a recurring theme representing recurring theme representing Harriet.Harriet.

The ProgrammeThe Programme The story is a window which The story is a window which invites the listener into the work.invites the listener into the work. Be familiar with the images Be familiar with the images Berlioz is portraying in each Berlioz is portraying in each movement.movement.Be able to visualise the images Be able to visualise the images in the music of movements 2 & 4.in the music of movements 2 & 4. This leads to easier examination This leads to easier examination and analysis of the required and analysis of the required movements.movements.

OrchestrationOrchestration Examine scoring.Examine scoring. Instruments are included Instruments are included for what they can add to for what they can add to the drama of the the drama of the programme.programme. Pay attention to Pay attention to transposing instruments.transposing instruments.

Movement 2Movement 2Un Bal – The BallUn Bal – The Ball

Imagine the ballroom scene.Imagine the ballroom scene. An elegant waltz.An elegant waltz. Ternary form.Ternary form. Based on a single extended Based on a single extended theme which sub-divides into 3 theme which sub-divides into 3 distinct parts.distinct parts. Includes two appearances of Includes two appearances of the Idée Fixe.the Idée Fixe.

Un BalUn BalSummary of thematic Summary of thematic

materialmaterialTheme 1 - Bars 38 – 54.Theme 1 - Bars 38 – 54. Theme 2 – Bars 56 – 66.Theme 2 – Bars 56 – 66. Theme 3 – Bars 68 – 93.Theme 3 – Bars 68 – 93. Each theme is immediately Each theme is immediately preceded by it’s own 2-bar preceded by it’s own 2-bar introduction – these intro’s are introduction – these intro’s are a feature of this movement.a feature of this movement. Idée fixe appears at (1) Bar Idée fixe appears at (1) Bar 120 and (2) at Bar 302. 120 and (2) at Bar 302.

Un Bal –Un Bal – Over-view of formOver-view of form

Introduction – Bars 1 – 36.Introduction – Bars 1 – 36. AA

Themes presented with their own Themes presented with their own unique intro’s. – Bars 36 – 115. A unique intro’s. – Bars 36 – 115. A major.major.

BB Middle section contains Idée fixe Middle section contains Idée fixe presented by Flute and oboe. – Bars presented by Flute and oboe. – Bars 116 – 174. F major.116 – 174. F major.

AA Return of section A – richer Return of section A – richer texture. Bars 175 – 256 – A major.texture. Bars 175 – 256 – A major. Coda – Contains lonesome Coda – Contains lonesome reference to Idée fixe from clarinet reference to Idée fixe from clarinet – Bars 256 – 368 – A major.– Bars 256 – 368 – A major.

Movement 4Movement 4Marche au Supplice – March to Marche au Supplice – March to

the Scaffoldthe Scaffold Imagine the grim scene.Imagine the grim scene. Consider how the intense drama Consider how the intense drama unfolds.unfolds. Form of this movement Form of this movement evolves evolves form form start to end – from intro to coda.start to end – from intro to coda. Based on two very distinct and Based on two very distinct and distinctive themes.distinctive themes. Idée fixe appears, as it does in every Idée fixe appears, as it does in every movement.movement.

Marche au SuppliceMarche au SuppliceSummary of thematic Summary of thematic

materialmaterial Theme 1 – the Theme 1 – the descending theme – descending theme – with a 2-with a 2-

octave span appears bars 17 – 61, g minor. octave span appears bars 17 – 61, g minor. It is heard 5 times here, at Bars 17, 25, 33, 41 It is heard 5 times here, at Bars 17, 25, 33, 41

& 49 – consider the changes in & 49 – consider the changes in instrumentation and treatment of the theme instrumentation and treatment of the theme in each rendition.in each rendition.

Theme 2 – the Theme 2 – the March theme – March theme – syncopated and syncopated and scored for ww, brass & percussion appears scored for ww, brass & percussion appears bars 62 – 77, Bb major.bars 62 – 77, Bb major.

Idée fixe makes an appearance briefly – solo Idée fixe makes an appearance briefly – solo unaccompanied clarinet – distant and unaccompanied clarinet – distant and removed – Bar 164.removed – Bar 164.

Marche au SuppliceMarche au SuppliceSummary of form.Summary of form.

Introduction – Bars 1 – 16, g minor.Introduction – Bars 1 – 16, g minor. Theme 1 – ‘Descending Theme’ – Bars 17 – 61, g Theme 1 – ‘Descending Theme’ – Bars 17 – 61, g

minor.minor. Theme 2 – ‘March Theme’ – Bars 62 – 77, Bb Theme 2 – ‘March Theme’ – Bars 62 – 77, Bb

major.major. Bars 1 – 77 are repeated in full.Bars 1 – 77 are repeated in full. Transition – combines March & Descending Transition – combines March & Descending

themes. Bars 78 – 113 – (nb. Numbering here is themes. Bars 78 – 113 – (nb. Numbering here is as given in score).as given in score).

Development – g minor. Bars 114 – 139.Development – g minor. Bars 114 – 139. Coda – vibrant & exciting. Bars 140 – 178. Coda – vibrant & exciting. Bars 140 – 178.

Contains reference to Idée Fixe which appears on Contains reference to Idée Fixe which appears on clarinet alone at Bar 164. Movement ends in G clarinet alone at Bar 164. Movement ends in G major.major.

The Exam The Exam Set B works examined 2002 – 2004 & 2008 -2010Set B works examined 2002 – 2004 & 2008 -2010 Symphonie Fantastique has appeared as follows Symphonie Fantastique has appeared as follows

2002 – Q. 2 – 10 marks – Mvt. 4.2002 – Q. 2 – 10 marks – Mvt. 4.

2003 – Q.1 – 25 marks – Mvt. 2.2003 – Q.1 – 25 marks – Mvt. 2.

2004 – Q.3 – 10 marks – Idée fixe Mvt 2.2004 – Q.3 – 10 marks – Idée fixe Mvt 2.

2008 – Q. 1 – 25 marks – Mvt 42008 – Q. 1 – 25 marks – Mvt 4

2009 – Q 3 – 10 marks – Mvt 22009 – Q 3 – 10 marks – Mvt 2

2010 – Q 2. 10 marks Mvt 42010 – Q 2. 10 marks Mvt 4 Topics raised include, instrumentation, key, Topics raised include, instrumentation, key,

cadences, treatment of themes, dynamics, what cadences, treatment of themes, dynamics, what happens next?....happens next?....