Symphonie Fantastique Isle of the Piano Sonata Symphony Symphony
Movement 1 (Berlioz) - Dead No. 32 C No. 4 E No. 4 -
1830 (Rachmanino minor minor 1833
v) - 1908 (Beethoven) - (Brahms) - (Mendelss
1832 1884 ohn)
Context Berlioz: one of the most influential Romantic Beethoven’s last Brahms’ final Italian
French composers of the 19th Programme sonata symphony symphony
Emotions: century due to his large music Mov 1 titled: Neo-Classical – written whilst
jealousy, instrumental forces + unique (symphonic majestic, brisk still sounds working in
surges of orchestration, began to study poem) depicting with vigor + Romantic/ Italy
joy, medicine, changed to studying a black and white passion expressive/virtuo Expresses his
delirious composition + became familiar reproduction of Mov 2 titled: sic buoyant,
passion, with Beethoven whose influence on the painting ‘Isle slowly, very Initially serene, optimistic
melanchol him was huge of the Dead’ that simple + song-like but a fateful air feelings
y, Rachmaninov from the towards the
Symphonie Fantastique:
religious was haunted descending thirds country
programme symphony, tells the
consolatio Depicts a
story of a gifted artist who had
n solitary, island-
poisoned himself with opium in the bound boat
depths of despair about unrequited bearing a coffin
love, said to be a means of Berlioz
expressing his unrequited love
from an actress
Perform Large symphony orch unusual for Large orchestra Virtuoso piano Fairly moderate
ing time with additions to standard with auxiliary orchestra with no
(over 90 instruments) instruments auxiliary/added
Forces
Very large pitch range used Piccolo, cor instruments
Woodwind: given much anglaise, bass Similar size to
independence (e.g. beginning), clarinet, Berlioz (strings
incls 4 bassoons, often in dialogue contrabassoon not specified)
with strings (e.g. 2nd subject), 6 horns, 3
trumpets, 3 Woodwind still
countermelodies, fl doubles vln 1st
trombones (incl heavily used, but
subject, have recap melody
tuba) most melodic
Brass + percussion: 4 horns, 2 material incl.
2 cello + bass
cornets à pistons in G (early type both subjects in
parts
, of cornet), 2 timpani tuned to C + Harps strings
G mainly chordal accomp, play
most in coda for impact Equal
Strings: at least 15 violin 1s, 15 importance given
violin 2s, 10 violas, 11 cellos, 9 to every section
double basses, violins generally
Similar sound
have melodies until development,
world +
where subject played on
melancholic
viola/cello/bass, also have emotion
accompanying role (e.g. recap)
(Later mov.s include additional
instruments)
Sonority Strings: con sordino at beginning, Strings con Darker, more Limited
pizz used as a sparing contrast sordino at Romantic techniques used
(e.g. a chord in link to subject + beginning sounding due to in strings – only
bass solo at beginning), double Horns hand- complex harmony pizz used
corde (e.g. first subject accomp = stopped (muted Very virtuosic occasionally (e.g.
more weight to sound), tremolo tone) with a huge range the livelier 2nd
(more dramatic end to intro), Lower strings – uses other subject)
punta d’arco (tip of bow for light, provide driving elements more
delicate effect at beginning) ostinato extremely to
Dies Irae theme compensate for
Contrasting string + woodwind
on clarinet with lack of contrast of
imitation
string tremolo + instruments
Timpani: wooden sticks covered in
pizz – sombre Pianists have to
leather (more distinct/dramatic) physically
and sponge-headed drum sticks struggle to reach
(more distant, muffled rumbling the notes
effect under first subject melodies
in recap)
Structur Sonata form with intro/coda Similar length, Sonata form in a Night on a
e (typical for time) but only one Romantic style Bare
Slow intro, link, exposition movement Primary theme, Mountain:
(repeated, first + brief second Ending dies away second theme, begins with
subject), development (first subject with violin solo development, spirit of
in lower strings, version of second and ending with recapitulation, darkness/cack
