Program Music Program Music Revival of program music

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Program Music

Program Music

Program Music • Revival of program music in the late 19 th century (late

Program Music • Revival of program music in the late 19 th century (late Romantic period. ) • Program music: materials & techniques are employed with the intent of depicting an extramusical phenomenon. • For example – A dramatic incident – A poetic image – A visual object – An element in nature

 • These things not only provided the general suggestive impulses, but also became

• These things not only provided the general suggestive impulses, but also became the dominating ideas in the musical composition. • Other music composed during this time was called absolute music. – Music conceived by the composer & understood by the listener without reference to extra-musical features. • Program music extends back into the medieval & Renaissance eras.

Hector Berlioz 1803 -1869

Hector Berlioz 1803 -1869

 • Grenoble, France • Father wanted him to be a doctor, but it

• Grenoble, France • Father wanted him to be a doctor, but it didn’t happen. • He spend more time at opera houses & music halls. • Berlioz fell in love with Harriet Smithson, an English actress; she was playing Ophelia in Hamlet when Berlioz saw her. • He tried to meet her but was rejected as a lunatic. • He continued studying music & on his 5 th attempt, he won the prestigious Prix de Rome. (1830)

 • Also in 1830, he finished his major & only widely-known composition, Symphonie

• Also in 1830, he finished his major & only widely-known composition, Symphonie Fantastique. – The “symphony” reflected his passion for Smithson. – After hearing it, she was so impressed that she married him. – Several years later though, they separated (stormy relationship. ) • Berlioz had difficulty in getting his works performed. • He believe in BIG productions (200 instruments in orchestra; 300 singers in the chorus; rather impractical. )

 • As a conductor, he added new instruments to the orchestra. • He

• As a conductor, he added new instruments to the orchestra. • He wrote some pieces for new & redeveloped instruments. • His greatest contribution to music: getting sound out of an orchestra (orchestration. ) • Many of Berlioz’s ideas were grandiose & proved to be impractical for the time period. • Tone color was more prominent in his music than melody & harmony. • In 1844, he wrote an important treatise on orchestration & tone color.

 • 3 characteristics of Berlioz’s music – Passionate emotionalism – Daring experimentation –

• 3 characteristics of Berlioz’s music – Passionate emotionalism – Daring experimentation – Rich imagination • Berlioz wrote many dramatic symphonies, many on the works of Shakespeare & some on the works of Goethe (story of Faust. ) – Dramatic symphony: similar to the oratorio; not religious in nature. • His major works are immense & dramatic.

Major Works • • • Symphonie Fantastique Romeo & Juliet (dramatic symphony) King Lear

Major Works • • • Symphonie Fantastique Romeo & Juliet (dramatic symphony) King Lear Overture Beatrice et Benedict (opera) Waverly & Rob Roy Overtures (based on novels by Sir Walter Scott) • Harold in Italy (symphony based on a poem by Byron. )

Symphonie Fantastique

Symphonie Fantastique

5 Movements I. III. IV. V. Reveries, Passions A Ball Scene in the Country

5 Movements I. III. IV. V. Reveries, Passions A Ball Scene in the Country March to the Scaffold Dream of the Witches’ Sabbath

Background Story • A young musician poisons himself with opium in a fit of

Background Story • A young musician poisons himself with opium in a fit of lovesick despair; it’s not enough to kill him, just make him sick. • He has strange visions that are transformed into musical thoughts & images. • His “loved-one” becomes a melody (an ideefixe: a fixed idea or fixation. ) • This melody will appear in all 5 movements when the musician thinks of the “loved-one. ”

 • The idee-fixe is also known as a signature theme. • It is

• The idee-fixe is also known as a signature theme. • It is a theme (melody) or motto that is repeated, with or without variation during a musical composition. ➢The idee-fixe gives the piece musical unity since it appears in each movement. ✿The orchestra portrays a wide range of images & emotional states.

Part I: Reveries, Passions • He recalls the soul-sickness, depressions, & groundless joys he

Part I: Reveries, Passions • He recalls the soul-sickness, depressions, & groundless joys he experienced before he first saw his love one. • Music then reflects the volcanic love that she suddenly inspired in him. • Swirling sounds indicate the frenzied suffering, jealous rages he experiences • The music also shows his returns to tenderness & his religious consolations.

Part II: A Ball • Waltz-like flavor • He encounters his beloved at a

Part II: A Ball • Waltz-like flavor • He encounters his beloved at a party (music sounds like the tumult of a brilliant party. ) • Harps & percussion • Violin—tremolo • Pay attention to the finale.

Part III: Scene in the Country • Slow, pastoral movement. • Gentle & calm

Part III: Scene in the Country • Slow, pastoral movement. • Gentle & calm • Country scenery, quiet rustling of the trees gently brushed by the wind • Gives the young musician an unaccustomed calm. • The movement ends on a note of loneliness.

Part IV: March to the Scaffold • Scaffold = guillotine • He dreams he

Part IV: March to the Scaffold • Scaffold = guillotine • He dreams he has killed his loved one & is condemned to death. • Rather somber & fierce then brilliant & solemn • Has a military sound to it as the young composer is marched to his death. • The idee-fixe returns—he sees his loved one in the crowd and then…CHOP the blade of the guillotine strikes.

 • Bassoons play the melody • Sound effects depicting elements of the story

• Bassoons play the melody • Sound effects depicting elements of the story • Listen for the snarling sound made by the trombone.

Part V: Dream of a Witches’ Sabbath • Noises represent ghosts, sorcerers, monsters, witches

Part V: Dream of a Witches’ Sabbath • Noises represent ghosts, sorcerers, monsters, witches & other types of ghouls; there are groans, bursts of laughter, distant cries. • He sees himself in the midst of this frightful gathering, which turns out to be his funeral. • The beloved melody appears again, but it has no character or nobility; it is trivial, mean, & grotesque. • “She” has come to take part in the devilish orgy.

 • Listen for the funeral knell (bells tolling at midnight) • There is

• Listen for the funeral knell (bells tolling at midnight) • There is a parody of a Dies Irae (from the requiem; Day of Wrath) • The witches dance a “round dance” that is supposed to sound like a fugue, which combines the funeral knell & the Dies Irae.