Exploring Berlioz’s Symphonie fantastique
Hector Berlioz’s iconic programmatic work Symphonie fantastique has sparked listeners’ imaginations since its premiere in 1830. One of the most enduring examples of Romanticism, the work’s emotional peaks and valleys tell the story of an impressionable artist’s dreams and visions, spurred by an obsessive new love for a beautiful woman. The distinct movements range from the enchanting to the macabre, anchored musically by Berlioz’s famous idée fixe that represents the object of the artist’s desire as she haunts him throughout his hallucinatory journey.
In anticipation of the summer 2023 season, the talented musicians of the National Youth Orchestra of the United States of America (NYO-USA) were invited to select their favorite movement of Symphonie fantastique and to choose a complementary movement from another work. The resulting playlist offers a unique view into both the story and emotions behind Symphonie fantastique and the inspirations of NYO-USA members. Read more about their selections below.
Movement 1: “Rêveries—Passions”
The listener is introduced to the idée fixe in this first movement, which illustrates the artist’s state of mind upon first seeing his beloved ideal. Sweetness, passion, and the emotional high and anxiety of love at first sight are all presented in sweeping form as the artist is transported by his “daydreams” of his new fixation.
Amy Beach: “Dreaming” from Four Sketches, Op. 15:
“The reveries and the love theme relate heavily to this passionate and textural one-movement work for piano.
Gustav Mahler: Andante comodo from Symphony No. 9:
“Both have a ‘heartbeat’ motif and are both an expression of love (Berlioz’s love for Harriet Smithson, Mahler’s love for life and humanity).
Movement II: “Un bal”
A glittering ballroom is the setting for the next movement, a waltz in 3/8 that is periodically interrupted by the idée fixe as the artist is followed by thoughts of his beloved at a glamorous party. Two harps fill out the orchestra, adding to the feeling of lushness and elegance.
Antonín Dvořák: Tempo di Valse from Serenade for Strings:
“Similar to the second movement of Symphonie fantastique, the second movement from Dvořák’s serenade is a waltz ... What led to my selection of this movement is the dark tone of the initial C-sharp–minor key and the light A-major key that is present later in the work. I think these different moods nicely complement the contrasting themes of love and despair present in the Berlioz.
Movement III: “Scène aux champs”
The “Scène aux champs,” or “Scene in the Country,” begins with a mournful conversation between the English horn and oboe, representing two shepherds in a pastoral landscape. The fickle moods of the countryside mirror the artist’s feelings of hope and anxiety as he considers his loneliness and love. At the movement’s close, the timpani provide the sound of rolling thunder on the horizon, an omen of what’s to come.
Gustav Mahler: “Ging heut’ Morgen übers Feld” from Lieder eines fahrenden Gesellen:
“The feeling and description of the Mahler [work] is very similar to the Berlioz: The song ‘Ging heut’ Morgen übers Feld’—which is the second of Lieder eines fahrenden Gesellen—is about a guy who is really happy frolicking through a field, but at the end he gets sad because the girl he loves doesn’t love him back.
Ludwig van Beethoven: Movement III from Symphony No. 9:
“Both pieces have similarities in sound and color. There’s lots of pastoral, serene imagery with also lots of contrast in string/violin sections.
Movement IV: “Marche au supplice”
In a moment of despair, believing his love to be unrequited, the artist drugs himself with opium and enters a deep sleep plagued by morbid dreams. He watches himself being led slowly to the scaffold, having killed his beloved in a rage—a vision that ends darkly with his execution. The sturdy, unyielding march treads an unbroken path to the artist’s imagined death, but the clarinet provides a brief solace before the final blow.
Bedřich Smetana: “The Moldau” from Má vlast:
“[Both are] rich in color and emotion!
Anna Clyne: Masquerade:
“I think Anna Clyne’s Masquerade complements [Symphonie fantastique] because it sounds like something that would come from a fever dream … It can be hard to find the beat for the listener ... [and] it has some of the percussionists using a cowbell and a clown horn … Then Berlioz has the fixed idea love theme. Masquerade has two main themes. One of the themes comes from an English country dance tune called ‘Juice of Barley.’ This theme is also twisted between triumph and love, even though it doesn’t have the anger Symphonie fantastique can have … I really enjoy Anna Clyne’s music, and it’s important to support modern composers because they help keep classical music alive and growing.
Movement V: “Songe d’une nuit du sabbat”
In the final movement, the artist finds himself at a witches’ sabbath, where grotesque creatures and monsters have gathered to witness his funeral. The idée fixe returns as a tawdry dance, stripped of its nobility. Berlioz illustrates the chaos and horror of this monstrous gathering with a variety of dissonances, effects, and melodies, including a death knell, col legno in the strings, and a caricature of the Latin “Dies irae” that ultimately becomes one with the witches’ satanic dance.
Anton Bruckner: Symphonic Prelude:
“The big brass moments combined with fast runs in the strings, quick transitions from intense loud full orchestral motifs to a single solo wind player, and counterpoint between the winds and strings are all qualities that this piece shares with the fifth movement of the Berlioz.
Franz Liszt: Totentanz:
“Both pieces heavily feature the ‘Dies irae’ theme and have a very similar mood range that shifts from dark to almost whimsical at times. Since the fifth movement of Berlioz tells the story of Berlioz’s visions at/after his funeral and Totentanz means ‘Dance of the Dead,’ the two are similar in meaning as well. Lastly, Liszt himself admired Berlioz’s Symphonie fantastique as he made an entire piano transcription of it, so the two composers are quite related.
Photography: NYO-USA 2023 by Chris Lee.
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