Link Works Berlioz (unfinished)

Texture - homorhythm

Tchaikovsky: Romeo and Juliet

The opening of the piece involves a (slow) homorhythmic melody in the clarinets and bassoons.

This, due to its straightforward nature, sets the stage for the more complex musical development to come, creates a reflective atmosphere, and provides the music with a sense of stability.

Texture - unison

Liszt: Les préludes

Very near the opening of this symphonic poem there is a (mostly) unison melody between the first and second violins and violas (and the melody is also played one octave below by the cellos, and two octaves below by the double basses).

This creates a much richer sound, which adds to the sense of mystery created by this resonant, low in pitch, and sombre melody (which at the end of the unison features a diminished 7^th).

Texture - monophony

Berlioz: Harold en Italie
Movement 1 (in English Harold in the mountains. Scenes of melancholy, happiness and joy)

The solo viola is truly highlighted as the soloist of Harold en Italie in this monophonic section. It particularly contrasts with the previous full orchestral fortissimo section.
 
Here, absolute clarity is brought to the short phrase played by the viola, which with its ostinati that increase in length, leads into the viola’s next melody; the 2^nd subject (therefore a link section).

Texture - heterophony

Dvořák : Symphony No. 9 (in E minor)

Movement 1 (Adagio – Allegro molto)

Heterophony here (in the development section of the movement) is created via the layering of a descending melody in the violin I and viola parts which is based entirely on semiquavers and quaver rests, and an incredibly similar yet dotted descending melody in the violin II, cello and double bass parts.

This keeps the music engaging, particularly important in this intense fortissimo passage.

Texture - melody-dominated homophony

Mendelssohn: Overture ‘The Hebrides (Fingal’s Cave)’, Op. 26

This legato melody in the cellos and bassoons, despite being low in pitch, ‘floats’ on top of semiquaver figures in the upper strings and long held minims in woodwind parts.

The melody therefore stands out, although the delicate accompanying parts still aid in giving it an almost fantastical quality.

Melody in the bass instruments – slightly different to Berlioz.

Texture - imitation

Tchaikovsky: Symphony No. 4 in F minor

Movement 1 (Andante sostenuto – moderato con anima)

This section of the first movement features just over 3 bars of imitation between the 1^st clarinet and bassoon, almost like a dialogue. This gives the section a playful feel that matches its now (relative) major tonality (in contrast to the overarching key of the movement being F minor).

This is within the moderato con anima section of the movement, specifically within the bridge passage before the 2^nd subject of the exposition.

Texture - homophony

Richard Wagner: Prelude to 'Die Meistersinger von Nürnberg’

In the final section of this piece, the full orchestra comes together to play rich, harmonised chords, creating an epic climax for the piece.

This section, particularly due to the prominence of the brass, sounds particularly fanfare-like consequently.

Melody - chromaticism

Wagner Tristan and Isolde Prelude

In the opening, in the melody of flutes and violins there are ascending chromatic scales, creating an unsettling atmosphere.

Melody - irregular phrase lengths

Chopin Nocturne Op. 15 No.3 in G minor

Phrases range from 2-7 bars. Piece starts with a 7 bar phrase, then a 6 bar phrase. Chopin uses different phrase lengths to add melodic interest and create an unstable feeling.

Melody - extreme leaps

Mendelssohn Violin Concerto in E minor Op.64, Mov. 1 Allegro molto appassionato

Solo violin features large leaps (3 octaves) creating an energetic effect. Diminished 7th in octaves followed by 3 octave descending leap.

Melody - countermelodies

Beethoven Symphony No.9, op. 125, 4th movement ‘Ode to Joy’

The strings (violas, cellos and basses) play the iconic ‘Ode to Joy’ theme, while the bassoons provide a countermelody above it, which weaves in and out of main melody, goes on to have some syncopation and tied notes (adds rhythmic interest too). This creates a sense of energy and adds melodic interest.

Melody - repeated notes

Beethoven Symphony No.5 in C minor, op.67 mov.1

Repeated notes introduced by the strings and woodwind in the beginning of movement 1 create a surge of forward momentum

Melody - idée fixe

Liszt’s symphonic poem Les Préludes

The opening theme recurs in different guises played by different instruments, used in different rhythms, different registers. First occurs in bar 3 in octaves in the strings.

Idée fixe in other movements of symphonie fantastique

• Movement 2 (A Ball) the idée fixe is altered to be a waltz in 3/8 time, much more decorated rhythmically (e.g. with semiquavers and dotted crotchets) to portray unsettled emotions that juxtapose with joyous event.

• Movement 3 (Scene in the Fields) idee fixe appears in a slower tempo (adagio) played by solo flute and oboe, 6/8 time - contemplative mood, serene countryside juxtaposes emotional tension

• Movement 4 (March to the Scaffold) - emerges briefly at the end of this dramatic march in the solo clarinet but is abruptly interrupted by a ‘fatal blow’, symbolizing despair and the artist's imagined execution. Lost hope and emotional collapse.

• Movement 5 (Dream of a Witches’ Sabbath) - idée fixe undergoes its most radical transformation into grotesque parody (descent into madness) - e.g. in Eb clarinet, odd dissonances and accents

Harmony - Diminished 7ths

Beethoven Piano Sonata No.8 Mov. 1 (‘Pathétique’)

In the introduction section of the sonata. Establishes an atmosphere of sorrow and despair at the very start of the piece. Mimics the meaning of the name ‘Pathétique’ itself; ‘emotional’

Harmony - functional harmony, perfect cadences

Clara Schumann’s Piano Trio in G minor Op. 17

Functional harmony establishes the home key at the start of the piece (the exposition). Perfect cadence in G minor (V- I, D major to G minor) confirms this.

Harmony - Plagal cadences

Handel’s Messiah: Hallelujah Chorus

Chorus IV to I at the end of the piece (here, G major to D major). The ‘amen; cadence, often seen in church music, supports Berlioz’s performance direction ‘Religiosamente’. Used here to reinforce the pious feel of the piece, as it was performed in churches.

Harmony - dominant 7ths

Bill Haley and his Comets ‘Rock Around the Clock’

Bar 35 onward – all dominant 7th chords, consecutively. Very common in jazz and pop due to the dissonance between the third and the seventh, and resolves onto the tonic to resolve the tension.

Harmony - dominant pedal

Beethoven’s Piano Sonata No.8 Op. 13 ‘Pathétique’ mov.1

Towards end of development section. Octave tremolo on G (dominant of C) forming a dominant pedal and, here, dominant preparation for the recapitulation in C minor. Lasts 20 bars; strong sense of anticipation to return onto the tonic. Chords change above it, and tremolo reinforces this ‘anxious’ atmosphere.

Harmony - parallel motion 1st inversion chords

Vaughan Williams On Wenlock Edge No.1 ‘On Wenlock Edge’

Parallel first inversion chords in the strings at the very start of the piece, starting with an Eb major chord. Creates unique harmonic movement. Wenlock Edge – exposed hillside, gale blowing, surging parallel motion chords represent these.

Dynamics

Mendelssohn – Hebrides Overture

Varied, precise and fast changing dynamics

• both Berlioz and Mendelssohn use a wide dynamic range, Berlioz from ppp to ff, Mendelssohn from pp to ff to represent the wild, stormy weather in the Hebridean islands

• both composers use sudden changes in dynamics (eg. Berlioz in b.62: ff to ppp within one bar and Mendelssohn from ff to pp in b.38-39)

• Mendelssohn uses sempre pp to remind the orchestra to delay a crescendo, whilst Berlioz is even more specific, using the direction for the whole orchestra to play as softly as possible in the last 15 bars

Structure - slow introduction

Mahler Symphony No.1 movement 1

First movement is also in sonata form and has a long introduction with a slow tempo

Additionally, this introduction is in the tonic minor in relation to the rest of the movement.

Structure - Bridge between introduction and first subject

Beethoven’s Pathétique Sonata in C minor

At the very end of the slow introduction, there is a cadenza-esque passage in which there is free tempo and this helps to smooth the transition between the large difference in tempo between the introduction and exposition

Subject - 1st subject with a long melodic line

Beethoven’s septet in Eb Mov. 1

Following a slow introduction, the violin takes the melody in a first subject lasting 22 bars, which is relatively long considering this is an early work of his. Halfway through the first subject, the clarinet takes the melody, and the end of the exposition is made clear by a perfect authentic cadence.

Structure - Transition with no medial caesura at the end

Schubert’s Violin Sonatina in A minor

In addition to being a sonata in which the exposition comprises of 3 key centres, there is no imperfect cadence before the start of the second subject, which is quite unusual in strict sonata forms (seamless link into the 2nd subject)

Structure - 2nd subject based on material from 1st subject

Haydn Sonata Hob:XVI 49

We can see the same motif of rising thirds at the very start of the piece, and also in the start of the second subject. It is then developed further in the second subject. Where it is different in 2nd subject – descending scale that wasn’t there previously.

Structure - Recapitulation that doesn’t start in the tonic

Mozart Sonata No. 16 in C Major K.545 mov.1

While it is not entirely unheard of for a recapitulation to begin in a key that is not the tonic, it is almost invariably the subdominant if this is the case. Doing this allows a composer to transpose the entirety of the exposition down by a fifth and use that as the recapitulation, saving the need to write a new transition.

Structure - Coda (shorter)

Mahler’s Symphony No.5, Mov. 3

This coda explores dynamics ranging all the way from ppp in the strings, where only a fraction of each section is asked to play, to a huge tutti fff in the last two bars, all in the space of 40 seconds of music.

Structure - coda (longer)

Dvorak Symphony No.7 Mov. 4

This is the culmination of almost 40 minutes of music, and is suitably dramatic, with huge orchestral tutti sounds (full of sequences, dotted notes and pedal notes – sense of finality).