essay stuff- elements

structure point

loose use of sonata form

structure main points

1. use of slow intro

2. short, weak, ‘questionable’ second subject

3. largely disproportionate balance of exposition, development, recapitulation

structure effects points

1. less commonly used in Classical period, example of Berlio'z’s progressive character toward Romantic period when it comes to composition of music

2. barely different from idée fixe (shows constant, obsessive thought of the actress), very short, insignificant throughout the symphony in comparison to the first subject

3. exposition repeated, reaffirming main musical material of movement. development VERY short, reflects Berlioz’s focus on narrative + colour over traditional structural forms. EXTENSIVE recapitulation, contrasts with the compressed development and intensifies the resolution

structure WL points

1. PATHETIQUE 1ST MOV- beethoven. Use of slow intro. Much earlier composer, possibly inspired Berlioz. Adds dramatic introduction + atmosphere to piece.

2. PIANO TRIO GM- schumann. Distinct difference between poignant, negative first subject and lighter, more delicate second subject. Later piece, perhaps berlioz ahead of time?

3. LONDON SYMPHONY- haydn. Slow intro is MUCH shorter than in symph fant..

tonality point

experimental approach to tonality

use of adventurous modulations and thematic recall to unify a wide range of keys

tonality main points

1. INTRO: modulation to Db (Neapolitan of C on Ab pedal after interrupted cadence)

2. DEV: tonality is loose; obscured by chromaticism in melody and harmony

3. RECAP: sequential use of idée fixe to hint at previous colourful tonal shifts throughout the piece

tonality effects points

1. Unexpected modulation (Ab would've likely been perceived as a tonic pedal), not one of the 'closely-related keys' most commonly used in Classical-era music, reminded of Berlioz's move away from these norms.

2. Listener's sense of key is weakened, enhancing development's unstable character

3. C major in 1st flutes (tonic key of entire piece), hints at G major in clarinet (2nd subject + recapitulation), C minor in oboe (reference to slow intro), Db major in bassoon (reference to slow intro interrupted cadence). Draws together all the important keys of the piece

tonality WL points

1. SYMPH NO5-  beethoven. Largely sticks to closely related keys (relative major, dominant). Very uncommon technique of the time.

2. PIANO TRIO MOV 1- schumann. Later piece, development consists almost entirely of chromaticism in first bit, which obscures the tonality and has no tonal centre through various modulations.

3. RIDE OF THE VALKYRIES- wagner. MUCH later piece, used in film music blues brothers and apocalypse now. Distinct dotted, disjunct melody introduced by brass section appears various times throughout piece, acting as 'leitmotif', very similar to idée fixe. Possibly influenced wagner to come up with leitmotif.

melody point

Used to contrast between moments of familiar lyrical themes and unstable chromaticism

melody main points

• idée fixe

• chromatic movement in development

• rising sequence to build climax (in recap, just before full orchestra plays idée fixe

melody effects points

• diatonic melody, varied between disjunct and falling conjunct movement, outlining the triad with a distinct perfect 4th and then perfect 5th interval. distinct melody that returns countlessly throughout the movement, and the symphony as a whole. accurately displays obsession with harriet smithson

• unsatisfying to classical listener’s ear, brings contrast to idée fixe’s diatonic melody, giving music a more unsettled and dramatic character

• assists in building a climax through increase in intensity and expectation, VERY common of classical and romantic composers alike

melody WL points

• 2ND MOVEMENT- provided by oboe + flute with waltz accompaniment, 5TH MOVEMENT- provided by high Eb clarinet, melody more disrupted, more unsettling effect

• SONATA NO12 IN F- mozart. Largely diatonic melody, example of classical tendency to remain diatonic, and further proof of berlioz's innovative approach + stray from classical norms

• SYMPH NO5- beethoven. End of exp, chromatic rising sequence in lower strings builds momentum toward end of section for powerful link to development. Very commonly used by classical composers.

RMT point

Varied use of rhythm and tempo to manipulate emotion throughout piece (common of Romantic music)

RMT main points

• Sudden dance-like moment in slow intro

• Restless quaver accompaniment from strings in exp

• Slow, elongated note values + decreasing tempo in ending

RMT effects points

• Brings excitement and momentum to the piece, providing better transition into more energetic main material

• Agitating, restless quavers from strings in idée fixe accompaniment, at first almost fragmentary but then become more persistent. Add sense of urgency, reflecting restless love of HB

• Peaceful effect, also allows for a slower harmonic rhythm. Calmer than emotionally turbulent recap, bringing music to close

RMT WL points

• HAROLD IN ITALY- pair of clarinets have triplet quavers in response to viola solo. Gentle effect

• PIANO CONCERTO C MINOR 2ND MOVEMENT- rach. Ending largely decreasing tempo, with elongated note values (Semiquavers -> quavers and held notes). Settled effect.

• MOONLIGHT SONATA 1ST MOV- beethoven. Elongated minim values at end, albeit much shorter. Very common technique to settle piece after constant quaver movement#

texture point

used flexibly

 

 

Contrasts sparse monophony with fuller chordal homophony to shape melodic ideas + structural contrast

texture main points

• Ends and begins on homophonic chordal writing

• Occasional monophonic writing, especially within idée fixe

texture effects points

• Achieves sense of balance, bringing cyclical idea to piece. Piece opens with chordal writing of triplet dominants and ends with chordal plagal writing

• Encased around homophony, highlights and exaggerates IF + moment HB sees HS. Also allows audience to easily notice when it returns in different textures (since it's the first time this has been heard)

texture WL points

• LONDON SYMPHONY - haydn. All instruments start playing homorhythms on tonic and dominant, in a fanfare like manner

• 2ND MOVEMENT- IF plays in much busier passage, strings accompany flute with elaborate and embellished sequencing

• HAROLD IN ITALY- when idée fixe is first displayed, immediately reduced, light accompaniment with harp's arpeggios + solo viola. highlights featured solo viola and rippling harp arpeggios (incredibly serenely gentle)

sonority point

Meticulous level of detail in his orchestration

(treatise on orchestration)

sonority main points

• Distinct double bass entrance

• Virtuosic chromatic disjunct movement at end of dev

• Idée fixe from full orchestra (+piccolo) in recap

sonority effects points

• Pizz to play 'soloistically'. Emphasis on CB entry to build on classical period (DB doubled celli) emphasise breadth of orchestration

• Very difficult, evidence of Berlioz's ambitious orchestral writing

• Fully highlights the idée fixe, introduction of piccolo reserved until this point for full orchestral sonority. Very common technique from Romantic composers + Classical composers alike

sonority WL

• SYMPH NO9 E MINOR 1ST MOV- dvorak. Later piece, near beginning distinct moment in slow intro where cello + DB have melody. More 'grave' effect. Note: still has DB doubled here

• ROMEO ET JULIETTE QUEEN MAB SCHERZO- berlioz. Difficult quiet, fast-moving string work near the beginning. Difficult for string players to maintain control. A later piece, 1839. example of his ambitious orchestral writing. HAROLD IN ITALY- virtuosic moments, fast scalic semi quavers in viola solo (pagganini would be pleased!)

• SYMPH NO5- beethoven. All instruments in orchestra (/most) play opening motif in exposition to further reiterate the idea.

harmony point

Extensive use of cadences (+ therefore functional harmony)

harmony main points

• INTERRUPTED CADENCE SLOW INTRO (Ab PEDAL)

• FULL CADENTIAL 6/4 SLOW INTRO BEFORE LINK

• ENDING: Rigorous use of plagal cadences +slow harmonic rhythm

harmony effects points

• Unexpected, further colour when moves to Neapolitan chord Db major. Strays from common classical perfect cadences to resolve ideas

• More pleasing to classical ear, bringing section to a close while settling the music's key after interrupted cadence

• Assists in achieving 'religiosamente' effect Berlioz writes for in his score. Commonly used in religious settings, and known as the 'amen' cadence. Brings music gently to finish

harmony WL points

• . SYMPH NO104 1MOV- haydn. Neapolitan 6tfh chord prior to ending in slow intro. Change in harmonic colour enables shift to end of section.

• SYMPH NO104 1MOV- haydn. Ends on cadential 6/4 into tonic major- picardie 3rd sort of.

• PIANO TRIO IN G MINOR- schumann. Ends on plagal cadence, softer effect