2. Symphony Fantastique Hector Berlioz Web

3. Romantic Features Texture How melodies and harmonies are arranged Textures changed quickly Usually homophonic texture with some polyphonic Melody Long expansive melodies Modulations/dramatic leaps/chromatic movement

4. Instruments Orchestra was big Combinations of instruments Piano used a lot Form Movements extended Rules relaxed to allow expression Pieces depicted emotions Romantic Features

5. Features Wide dynamic range Modulation Use of leitmotiv Doubling of parts Romantic Features

6. The Romantic Period Paris became the most important city for Romantic music In Romantic music fantasy and expression are more important than balance and symmetry of Classical period The composers of the Romantic period sought to create Drama Describe an emotion Paint a scene

7. Romantic Style Texture – changed quickly from section to section Melody – long expansive melody which include unusual modulations Instruments – Orchestras became much bigger Form – Usual forms were in use but were extended Features – Included wide ranges, modulation to non-related keys, the use of leitmotiv – a recurring theme

8. Berlioz’s Style Features: Master of orchestration Would often combine main themes together Provided clear musical markings for performance Melodies very expressive

9. Symphony Fantastique Symphony in 5 movements with a recurring theme Idee Fixe Berlioz distributed programme notes to the audience We study movement II and IV Movement II is The Ball Movement IV is The March to the Scaffold

10. Second Movement The Ball – Basic Details Ternary Form ABA1A Major3/8 Time Changing Orchestration with theme changes Introduction and Coda Waltz Theme Accompaniments Allegro non Troppo Lively but not too much

11. Second Movement Un Ball – A Section ThemeKeyBar 1AA Major36 1BA Major54 1CA Major66 1AA Major94

12. Second Movement Un Ball – A Section – 1A Bars 36-54 – A Major – 16 bar melody on 1 st violin

13. Second Movement Un Ball – A Section – 1B Bar 56-66 – A Major – 11 bars on 1 st violin accompanied by strings and harp

14. Second Movement Un Ball – A Section – 1C Bars 66 – 93 – A Major 10 bar melody on violin accompanied by viola and cello (2 Phrases)

15. Second Movement Un Ball – A Section – 1A Bars 94-120 16 bars extended on 1 st violin with orchestral accompanied – A Major – F Major No upbeat No slow down in bar 104 Theme extended by 11 bars Modulation to F Major

16. Second Movement Un Ball – B Section – Idee Fixe Bars 121- 175 – Idee Fixe on 1 st Flute and Oboe Transition from F Major to A Major

17. Second Movement Un Ball – A1 Section – 176-256 ThemeKeyBar 1a – No lead in 1b – 2 harps A Major176 1cA Major203 1a - ExtendedA Major233

18. Link and Coda Bars 257 – 301 Coda – Bars 302 – 368 Bar 302 – 18 bars 1 st clarinet Idee Fixe Link to Movement with Notes Orchestra Playing Berlioz

19. Movement IV – Marche au Supplice Allegretto non troppo – a little lively but not too much ThemeKeyBar IntroductionG minor1-16 ExpositionG minor-Bb major17-77 Development 1G min - Bb maj - G min78-113 Development 2G min – Db maj114-139 CodaG min – G maj140-178

20. Movement IV – Marche au Supplice Basic Facts SectionThemeKeyFeature IntroductionForeboding beatG minorTimpani Triplet Chord Exposition2 Octave Descending Theme March Theme 2 Counter-Subjects G minor-Bb majorCounter Subject 1 and 2 Development 1March Theme Descending Theme March Theme G min - Bb maj - G minPedal Note Development 2Descending Theme Inverted G min – Db majff Rising Motifs Coda2 nd and 1 st Countersubjects Idee Fixe G min – G majAntiphonal Juxtaposition of chords

21. Themes Descending Theme

22. Countersubjects

23. March Theme

24. Idee Fixe