Symphonie fantastique is an epic for a huge orchestra. Through its movements, it tells the story of an artist's self-destructive passion for a beautiful woman. The symphony describes his obsession and dreams, tantrums and moments of tenderness, and visions of suicide and murder, ecstasy and despair.
The story is a self-portrait of its composer, Hector Berlioz (1803-1869)
As a teen, Berlioz suffered from isolation and bouts of uncontrollable mood swings. These dramas, coupled with his fantasies of love and loss, provided Berlioz with the raw materials for his life's work.
Shakespeare, as presented by the Irish actress, Harriet Smithson, changed Berlioz's life forever. From the moment he saw her, he was obsessed. Symphonie fantastique is nothing less than Berlioz's extravagant attempt to attract Harriet's attention.
Symphonie fantastique premiered in Paris in 1830. Reactions were mixed. Most disappointingly, Harriet Smithson did not attend.
The story is a self-portrait of its composer, Hector Berlioz (1803-1869)
As a teen, Berlioz suffered from isolation and bouts of uncontrollable mood swings. These dramas, coupled with his fantasies of love and loss, provided Berlioz with the raw materials for his life's work.
Shakespeare, as presented by the Irish actress, Harriet Smithson, changed Berlioz's life forever. From the moment he saw her, he was obsessed. Symphonie fantastique is nothing less than Berlioz's extravagant attempt to attract Harriet's attention.
Symphonie fantastique premiered in Paris in 1830. Reactions were mixed. Most disappointingly, Harriet Smithson did not attend.
Hector Berlioz
Hector Berlioz was a French Romantic composer, best known for his composition Symphonie fantastique (1830). Berlioz made significant contributions to the modern orchestra with his Treatise on Instrumentation. Born December 11, 1803, La Côte-Saint-André. Died March 8, 1869, Paris. Watch the brief introduction to Berlioz the Romantic, below.
Below is a video of the entire 5 movements of the whole symphony. There are many versions on Youtube.
Features of Romantic (19th Century) Music
In general Romantic music is more emotional, colourful and dramatic than the music of previous eras. Romantic doesn’t mean “love”. It is more associated with artist’s state of mind, expression of emotion……all emotions, not just love. This spirit of expression is the kernel of Romanticism.
Large Orchestra Very big when compared to Classical music. Each section was larger. (It’s assumed you know the sections of the orchestra!!)
Berlioz uses large Brass and Percussion sections in the 4th movement which helps him make the music very expressive and dramatic.
Harps, Cor anglais, 4 timpani, and dividing string sections are also features of his orchestra.
Make sure you know the Transposing instruments, and the clefs used. (especially Alto and Tenor)
Programme Music; This is one of the strongest features of the Romantic era, where the composer paints a picture, tells a story, or creates a mood through music.
Dynamics; are extreme and serve the purposes of the mood rather than being solely for contrast.
Harmony; is more colourful and chromatic.
Modulations to un-related keys
Structure; Although many composers use similar forms, they are free when compared to the rigid structural procedures of the Classical era.
A Symphony is an extended work for orchestra in (usually) 3 or 4 contrasting movements, the first of which was usually in sonata form. Note that this symphony has 5 movements. The 2ndand 4th movements only need to be studied for Leaving Cert’.
Idéa Fixé
The “fixed idea” is a theme (tune) that occurs in each movement of the symphony,
transformed as necessary to fit. It represents “his beloved”.
Programme Music
is music that tells a story, paints a picture, or describes a mood. This is very
important in this work.
In general Romantic music is more emotional, colourful and dramatic than the music of previous eras. Romantic doesn’t mean “love”. It is more associated with artist’s state of mind, expression of emotion……all emotions, not just love. This spirit of expression is the kernel of Romanticism.
Large Orchestra Very big when compared to Classical music. Each section was larger. (It’s assumed you know the sections of the orchestra!!)
Berlioz uses large Brass and Percussion sections in the 4th movement which helps him make the music very expressive and dramatic.
Harps, Cor anglais, 4 timpani, and dividing string sections are also features of his orchestra.
Make sure you know the Transposing instruments, and the clefs used. (especially Alto and Tenor)
Programme Music; This is one of the strongest features of the Romantic era, where the composer paints a picture, tells a story, or creates a mood through music.
Dynamics; are extreme and serve the purposes of the mood rather than being solely for contrast.
Harmony; is more colourful and chromatic.
Modulations to un-related keys
Structure; Although many composers use similar forms, they are free when compared to the rigid structural procedures of the Classical era.
A Symphony is an extended work for orchestra in (usually) 3 or 4 contrasting movements, the first of which was usually in sonata form. Note that this symphony has 5 movements. The 2ndand 4th movements only need to be studied for Leaving Cert’.
Idéa Fixé
The “fixed idea” is a theme (tune) that occurs in each movement of the symphony,
transformed as necessary to fit. It represents “his beloved”.
Programme Music
is music that tells a story, paints a picture, or describes a mood. This is very
important in this work.
Orchestration
Berlioz is famous for his development of the orchestra especially in this work. Learn the sound of the instruments. Identifying instruments is the most common
exam question. Note the transposing instruments, those that play a different
pitch than the written pitch. These are;
Picolo – sounds an octave above written
Cor Anglais – sounds a 5th lower than written
Clarinet in Bb – sounds a 2nd lower than written
Horn in Eb – sounds a 6th lower than written
Horn in C – sounds an octave lower than written
Cornet in G – sounds a 4th lower than written
Double Bass – sounds an octave lower than written
Also
Observe the clefs that these instruments use. Know whether instruments are high
medium or low in pitch. Think of each section of the orchestra as being like a
choir, with Soprano, Alto, Tenor and Bass instruments.
Observe and learn the sound of instrumental effects and instructions. N.B. don’t
mix up instrumental effects with articulation (legato, staccato
etc.)
Pizz. (pizzicato) – plucked
Arco – Bowed
Div. – musicians divide to play different notes
Solo - 1 soloist in orchestral passage
Soli - group of soloist to make a line more prominent.
Tutti - all play
(Soli is section, solo is one player, tutti is everyone, usually after a solo.)
Flauto 2 muta in flauto piccolo – 2nd flute change to piccolo
Unis. (unison) play together after dividing
Faites les sons bouchés avec la main sans employer les cylinders – produce stopped tones
with the hand without using the valves
baguettes d’eponge – sponge headed drumsticks
avec les cylinders, tous les sons ouverts – with the valves, all tones open
baguettes de bois – wooden drumsticks
Berlioz is famous for his development of the orchestra especially in this work. Learn the sound of the instruments. Identifying instruments is the most common
exam question. Note the transposing instruments, those that play a different
pitch than the written pitch. These are;
Picolo – sounds an octave above written
Cor Anglais – sounds a 5th lower than written
Clarinet in Bb – sounds a 2nd lower than written
Horn in Eb – sounds a 6th lower than written
Horn in C – sounds an octave lower than written
Cornet in G – sounds a 4th lower than written
Double Bass – sounds an octave lower than written
Also
Observe the clefs that these instruments use. Know whether instruments are high
medium or low in pitch. Think of each section of the orchestra as being like a
choir, with Soprano, Alto, Tenor and Bass instruments.
Observe and learn the sound of instrumental effects and instructions. N.B. don’t
mix up instrumental effects with articulation (legato, staccato
etc.)
Pizz. (pizzicato) – plucked
Arco – Bowed
Div. – musicians divide to play different notes
Solo - 1 soloist in orchestral passage
Soli - group of soloist to make a line more prominent.
Tutti - all play
(Soli is section, solo is one player, tutti is everyone, usually after a solo.)
Flauto 2 muta in flauto piccolo – 2nd flute change to piccolo
Unis. (unison) play together after dividing
Faites les sons bouchés avec la main sans employer les cylinders – produce stopped tones
with the hand without using the valves
baguettes d’eponge – sponge headed drumsticks
avec les cylinders, tous les sons ouverts – with the valves, all tones open
baguettes de bois – wooden drumsticks
Program Notes to Symphonie Fantastique
The composer’s intention has been to develop, insofar as they contain musical possibilities, various situations in the life of an artist. The outline of the instrumental drama, which lacks the help of words, needs to be explained in advance. The following program should thus be considered as the spoken text of an opera, serving to introduce the musical movements, whose character and expression it motivates.
PROGRAM
Part One REVERIES —PASSIONS
The author imagines that a young musician, afflicted with that moral disease that a well-known writer calls the vague des passions, sees for the first time a woman who embodies all the charms of the ideal being he has imagined in his dreams, and he falls desperately in love with her. Through an odd whim, whenever the beloved image appears before the mind’s eye of the artist it is linked with a musical thought whose character, passionate but at the same time noble and shy, he finds similar to the one he attributes to his beloved.This melodic image and the model it reflects pursues him incessantly like a double id`ee fixe. That is the reason for the constant appearance, in every movement of the symphony, of the melody that begins the first Allegro. The passage from this state of melancholy reverie, interrupted by a few fits of groundless joy, to one of frenzied passion, with its movements of fury, of jealousy, its return of tenderness, its tears, its religious consolations—this is the subject of the first movement.
Part Two A BALL
The artist find himself in the most varied situations—in the midst of the tumult of a party, in the peaceful contemplation of the beauties of nature; but everywhere, in town, in the country, the beloved image appears before him and disturbs his peace of mind.
Part Three SCENE IN THE COUNTRY
Finding himself one evening in the country, he hears in the distance two shepherds piping a ranz des vaches in dialogue. This pastoral duet, the scenery, the quiet rustling of the trees gently brushed by the wind, the hopes he has recently found some reason to entertain—all concur in affording his heart an unaccustomed calm, and in giving a more cheerful color to his ideas. He reflects upon his isolation: he hopes that his loneliness will soon be over. —But what if she were deceiving him!—This mingling of hope and fear, these ideas of happiness disturbed by black presentiments, form the subject of the Adagio. At the end one of the shepherds again takes up the ranz des vaches: the other no longer replies.—Distant sound of thunder—loneliness—silence.
Part Four MARCH TO THE SCAFFOLD
Convinced that his love is unappreciated, the artist poisons himself with opium. The
dose of the narcotic, too weak to kill him, plunges him into a sleep accompanied by
the most horrible visions. He dreams that he has killed his beloved, that he is condemned and led to the scaffold, and that he is witnessing his own execution. The procession moves forward to the sound of a march that is now somber and fierce, now brilliant and solemn, in which the muffled noise of heavy steps gives way without transition to the noisiest clamor. At the end of the march the first four measures of the id`ee fixe reappear, like a last thought of love interrupted by the fatal blow.
Part Five DREAM OF A WITCHES’ SABBATH
He sees himself at the sabbath, in the midst of a frightful troop of ghosts, sorcerers,
monsters of every kind, come together for his funeral. Strange noises, groans, bursts
of laughter, distant cries which other cries seem to answer. The belove melody
appears again, but it has lost its character of nobility and shyness: it is no more than a
dance tune, mean, trivial, and grotesque: it is she, coming to join the sabbath.—A roar
of joy at her arrival.—She takes part in the devilish orgy.—Funeral knell, burlesque
parody of the Dies irae, sabbath round-dance. The sabbath round and the Dies irae
combined.
2
The composer’s intention has been to develop, insofar as they contain musical possibilities, various situations in the life of an artist. The outline of the instrumental drama, which lacks the help of words, needs to be explained in advance. The following program should thus be considered as the spoken text of an opera, serving to introduce the musical movements, whose character and expression it motivates.
PROGRAM
Part One REVERIES —PASSIONS
The author imagines that a young musician, afflicted with that moral disease that a well-known writer calls the vague des passions, sees for the first time a woman who embodies all the charms of the ideal being he has imagined in his dreams, and he falls desperately in love with her. Through an odd whim, whenever the beloved image appears before the mind’s eye of the artist it is linked with a musical thought whose character, passionate but at the same time noble and shy, he finds similar to the one he attributes to his beloved.This melodic image and the model it reflects pursues him incessantly like a double id`ee fixe. That is the reason for the constant appearance, in every movement of the symphony, of the melody that begins the first Allegro. The passage from this state of melancholy reverie, interrupted by a few fits of groundless joy, to one of frenzied passion, with its movements of fury, of jealousy, its return of tenderness, its tears, its religious consolations—this is the subject of the first movement.
Part Two A BALL
The artist find himself in the most varied situations—in the midst of the tumult of a party, in the peaceful contemplation of the beauties of nature; but everywhere, in town, in the country, the beloved image appears before him and disturbs his peace of mind.
Part Three SCENE IN THE COUNTRY
Finding himself one evening in the country, he hears in the distance two shepherds piping a ranz des vaches in dialogue. This pastoral duet, the scenery, the quiet rustling of the trees gently brushed by the wind, the hopes he has recently found some reason to entertain—all concur in affording his heart an unaccustomed calm, and in giving a more cheerful color to his ideas. He reflects upon his isolation: he hopes that his loneliness will soon be over. —But what if she were deceiving him!—This mingling of hope and fear, these ideas of happiness disturbed by black presentiments, form the subject of the Adagio. At the end one of the shepherds again takes up the ranz des vaches: the other no longer replies.—Distant sound of thunder—loneliness—silence.
Part Four MARCH TO THE SCAFFOLD
Convinced that his love is unappreciated, the artist poisons himself with opium. The
dose of the narcotic, too weak to kill him, plunges him into a sleep accompanied by
the most horrible visions. He dreams that he has killed his beloved, that he is condemned and led to the scaffold, and that he is witnessing his own execution. The procession moves forward to the sound of a march that is now somber and fierce, now brilliant and solemn, in which the muffled noise of heavy steps gives way without transition to the noisiest clamor. At the end of the march the first four measures of the id`ee fixe reappear, like a last thought of love interrupted by the fatal blow.
Part Five DREAM OF A WITCHES’ SABBATH
He sees himself at the sabbath, in the midst of a frightful troop of ghosts, sorcerers,
monsters of every kind, come together for his funeral. Strange noises, groans, bursts
of laughter, distant cries which other cries seem to answer. The belove melody
appears again, but it has lost its character of nobility and shyness: it is no more than a
dance tune, mean, trivial, and grotesque: it is she, coming to join the sabbath.—A roar
of joy at her arrival.—She takes part in the devilish orgy.—Funeral knell, burlesque
parody of the Dies irae, sabbath round-dance. The sabbath round and the Dies irae
combined.
2