1. Symphonie Fantastique
Berlioz
Symphonie Fantastique
Of the four works to be studied, this one is probably the easiest to understand, to analyse and to become comfortable with through listening and study.

2. Overall perspective for studying this work
Keep end goal in sight – this will be a 25 mark or a 10 mark Q.
Movements to be studied are No. 2 – Un Bal and No. 4 – Marche au Supplice.
Relate each movement to the Programme – the story is being told.
Both movements are in clear precise forms.
Be aware that within the overall context of the exam as a whole, each of the set works requires a considerable amount of work for which a maximum of 25 marks will be awarded.
Only two movements of this five-movement symphony are on the course.
Your doorway into the work is the programme – know the story, especially the part of the story being told in the movements you are studying. You will not be examined directly on the programme, but it will open your mind and ears to so many different aspects of Berlioz’ music and this work in particular – his awareness of the dramatic possibilities of music, his means of achieving this drama, the glimpses of Berlioz the man, etc.

3. A French romantic composer.
Berlioz
A French romantic composer.
Compositions reflect his deeply emotional nature and his passion for life and love.
It is relevant and important to place Berlioz historically, geographically and musically French, born in 1803, right at start of Romantic influence in Europe and particularly in France. His ‘time & place’ is hugely significant in his music. There is a second dimension – the personal one - how
does his personality emerge in his music? Evident in the passion and contrasts that are evident in these two movements. Compare it to the Mozart – wouldn’t we agree that Berlioz is more passionate. Compare the sense of glory in the march theme with the despair and loneliness of the Idee fixe in movement 4.

4. Features of Romanticism
Emotionalism
Self-Expression
Individuality
Nationalism
Programme Music
Large orchestra
Expanded forms, dynamic ranges etc
Discuss the features and characteristics of Romanticism above – explain.
Look at how these are evident in Berlioz music, and examine how he himself extended Romantic boundaries even further through his mastery of orchestration, his linking of movements by a recurring theme, his use of programme and the 5-movement form.

5. Berlioz the composer Innovative.
Flexible approach to form and structure.
Aware of possibilities of drama and expression.
A leading authority in orchestration, tone-colours and timbre.
Expand on fact that ‘restrictions’ of form which guided composers in the classical period did not have the same importance for composers of this period. New approaches to forms, new ideas etc were paramount. Again point out the 5-movement form, the programme symphony, the unification of the movements through use of the recurring theme and his gift for orchestration.

6. The Symphony Grew out of fast-slow-fast Italian overture.
Established as a 4-movement form in Classical period by composers such as Haydn & Mozart.
Expanded further by Beethoven, becoming dramatic & expressive.
Developed in the Romantic period into the programme symphony, often with 5 movements.
Explain.

7. Symphonie Fantastique
5 movements
Programmatic
Innovative
Each movement titled and telling story of Berlioz’ dreams with regard to his infatuation with Harriet Smithson.
Movements are threaded together by the idee fixe - a recurring theme representing Harriet.
Give the facts as above.
Listen to the idee fixe as it appears in the 3 movements which we have not studied – Tracks 1 – 3.
You should be familiar with this theme, not only in the two prescribed movements but as it appears throughout the work as a whole. There is no better way to hear his creative orchestration, his ability to create drama, tension, mood etc.

8. The Programme
The story is a window which invites the listener into the work.
Be familiar with the images Berlioz is portraying in each movement.
Be able to visualise the images in the music of movements 2 & 4.
This leads to easier examination and analysis of the required movements.
To know this work effectively, you do need to know the Programme.

9. Orchestration Examine scoring.
Instruments are included for what they can add to the drama of the programme.
Pay attention to transposing instruments.
Make the following points: - Berlioz is acknowledged as a Master of Orchestration – (Treatise on modern instruments and Orchestration ).
Play tracks 4 & 5 egs of full rich scoring vs sparsely textured Idee fixe – and comment on the textures etc of both.
As a rule of thumb in this score, all the transposing instruments with the exception of the piccolo, transpose downwards.

10. Movement 2 Un Bal – The Ball
Imagine the ballroom scene.
An elegant waltz.
Ternary form.
Based on a single extended theme which sub-divides into 3 distinct parts.
Includes two appearances of the Idée Fixe.
Introduction to the work pulls us into the ballroom scene, with shimmering strings and delicate harp arpeggios leading us to the Main theme at Bar 38. Play track 6.
Point out time-sig of 3/8.
Overall form of the movement is Intro – A-B-A – Coda – notice the symmetry.
The Idée fixe appears twice, firstly presented by flute and oboe and later by solo clarinet, where it appears distant, lost and remote.

11. Un Bal Summary of thematic material
Theme 1 - Bars 38 – 54.
Theme 2 – Bars 56 – 66.
Theme 3 – Bars 68 – 93.
Each theme is immediately preceded by it’s own 2-bar introduction – these intro’s are a feature of this movement.
Idée fixe appears at (1) Bar 120 and (2) at Bar 302.
Theme 1, 2, and 3 are on tracks 7, 8 and 9. Play.
Students should be made aware of the differences in scoring, mood and performance of the two appearances of I.F. in the movement – Tracks 10 & 11.
The feature of the small intro’s to individual sections of the theme is an important feature of this work.Tracks 12, 13 & 14.
Also point out the sigh – motif, and idea taken from the opening movement of the work – which appears in both themes 1 & 2 and is characterised by a long note falling to a note of shorter value, as if one is sighing.

12. Un Bal – Over-view of form
Introduction – Bars 1 – 36. A
Themes presented with their own unique intro’s. – Bars 36 – 115. A major. B
Middle section contains Idée fixe presented by Flute and oboe. – Bars 116 – 174. F major.
Return of section A – richer texture. Bars 175 – 256 – A major.
Coda – Contains lonesome reference to Idée fixe from clarinet – Bars 256 – 368 – A major.
Summary of form – notice symmetrical shape – very simply constructed!

13. Movement 4 Marche au Supplice – March to the Scaffold
Imagine the grim scene.
Consider how the intense drama unfolds.
Form of this movement evolves form start to end – from intro to coda.
Based on two very distinct and distinctive themes.
Idée fixe appears, as it does in every movement.
Treat this movement as you did ‘The Ball’. Centre your analysis around the story.
Play introduction – Track 15.

14. Marche au Supplice Summary of thematic material
Theme 1 – the descending theme – with a 2-octave span appears bars 17 – 61, g minor.
It is heard 5 times here, at Bars 17, 25, 33, 41 & 49 – consider the changes in instrumentation and treatment of the theme in each rendition.
Theme 2 – the March theme – syncopated and scored for ww, brass & percussion appears bars 62 – 77, Bb major.
Idée fixe makes an appearance briefly – solo unaccompanied clarinet – distant and removed – Bar 164.
Concentrate on the distinctiveness of the two themes, but explain how their appearances can differ. Mention use of techniques such as contrapuntal texturing, counter-subjects, contrasts in orchestration, inversion etc.Play tracks as follows -
Track 16 – Theme 1.
Track 17 – Theme 1 with added counter-theme in bassoon.
Track 18 – theme 1 with viola & cello counter-melody.
Track 19- Theme 2

15. Marche au Supplice Summary of form.
Introduction – Bars 1 – 16, g minor.
Theme 1 – ‘Descending Theme’ – Bars 17 – 61, g minor.
Theme 2 – ‘March Theme’ – Bars 62 – 77, Bb major.
Bars 1 – 77 are repeated in full.
Transition – combines March & Descending themes. Bars 78 – 113 – (nb. Numbering here is as given in score).
Development – g minor. Bars 114 – 139.
Coda – vibrant & exciting. Bars 140 – 178. Contains reference to Idée Fixe which appears on clarinet alone at Bar 164. Movement ends in G major.
An evolving form based on two themes, and including final reference to I.F.
Track 20 – developing the theme – heard from trombones against rising w.w & strings
Track 21 – notice the use of dynamic colouring – the decrescendo.
Track 22 – inversion.
Track 23 – antiphonal effects. (Call & response)

16. 2004 – Q.3 – 10 marks – Idée fixe Mvt 2.
The Exam
Set B works examined 2002 – 2004 &
Symphonie Fantastique has appeared as follows
2002 – Q. 2 – 10 marks – Mvt. 4.
2003 – Q.1 – 25 marks – Mvt. 2.
2004 – Q.3 – 10 marks – Idée fixe Mvt 2.
2008 – Q. 1 – 25 marks – Mvt 4
2009 – Q 3 – 10 marks – Mvt 2
2010 – Q marks Mvt 4
Topics raised include, instrumentation, key, cadences, treatment of themes, dynamics, what happens next?....