Berlioz
Symphonie Fantastique
Overall perspective for studying
this work
Keep end goal in sight – this will be a 25
mark or a 10 mark Q.
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Movements to be studied are No. 2 – Un Bal
and No. 4 – Marche au Supplice.
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Relate each movement to the Programme –
the story is being told.
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Both movements are in clear precise forms.
Berlioz
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A French romantic composer.
Compositions reflect his deeply
emotional nature and his passion
for life and love.
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Features of Romanticism
Emotionalism
 Self-Expression
 Individuality
 Nationalism
 Programme Music
 Large orchestra
 Expanded forms, dynamic ranges etc
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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.
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The Symphony
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Grew out of fast-slow-fast Italian overture.
Established as a 4-movement form in Classical
period by composers such as Haydn & Mozart.
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Expanded further by Beethoven, becoming
dramatic & expressive.
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Developed in the Romantic period into the
programme symphony, often with 5 movements.
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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.
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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.
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Orchestration
Examine scoring.
 Instruments are included for what
they can add to the drama of the
programme.
 Pay attention to transposing
instruments.
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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.
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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.
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.
A
 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.
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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.
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Marche au Supplice
Summary of thematic material
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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.
Marche au Supplice
Summary of form.
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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.
The Exam
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Set B works examined 2002 – 2004 & 2008 -2010
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 2. 10 marks Mvt 4
Topics raised include, instrumentation, key, cadences,
treatment of themes, dynamics, what happens next?....