Jennifer

=**__Symphonie Fantastique__**= media type="youtube" key="m4ixd6IvlCM" width="425" height="350"
 * __First Movement: "Reveries, Passions"__**

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 * __Second Movement: "A Ball" __**

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 * __Third Movement: "Scene in the Fields" __**

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 * __Fourth Movement: "March to the Scaffold"__**

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 * __Fifth Movement: "Dream of a Witches' Sabbath"__**


 * __//The Romance Period//__**
 * __//Title: Symphonie Fantastique//__**
 * __//By: Hector Berlioz//__**
 * __//Performed by The Keio Youth Orchestra, Tokyo//__**
 * __//Conducted by//__ //__Kenshiro Sakairi__//**

One of the most memorable pieces of Berlioz would have to be the Symphonie Fantastique which launched his career. What was so interesting about this piece was that it was a program symphony. It was played like a story with everything revolving around a topic. In this case it is the idee fixe which is a recurring theme that undergoes transformations in multi movements connecting them smoothly.

Symphonie Fantastique was composed in 1830 performed by an expanded symphony orchestra. Perhaps it was Berlioz interest in Shakespeare’s devastating tragedies or Beethoven’s influencing him with his dramatic power that allowed Berlioz to create such romanticism and possibly assisted him into evoking such melodies, rhythms, or harmonies into Symphonie Fanastique. Actually it was his deep infatuation with an actress named Harriet Smithson who served as his principal inspiration. There were other influencing factors such as public executions and controversial literary works as well. The program is about a lovesick artist that attempts suicide by taking opium but is not successful leading him into a deep sleep caused by the weak drug. We then observe his dreams and nightmares haunted by vision of the artist’s beloved who is believed to be Harriet Smithson.

Romanticism is a mixture of emotions embedded into music which Berlioz was able to do so well. He created such unusual instrumental effects embracing progressive chromatic harmony, thematic transformations, and cyclical forms bringing the two worlds of classical and romantic closer together.

In Cote-Saint-Andre, near Lyon, France, a man whose influence was critical for the further development of Romanticism was born. Hector Berlioz was born on December 11, 1803. His music studies began at the age of twelve learning only the guitar and flute. Despite his interest in music his father who was a physician sent him to Paris to study medicine in 1821. Unfortunately for his parents, Berlioz had no interest in medicine and left to pursue his passion of music. With his parents disapproval he began formal music studies at the Paris Conservatoire in 1826 where his interest in Beethoven had bloomed.
 * //The Life of Hector Berlizo//**

Berlioz may be one of the few composers who wasn't born with a musical gift or began music at a very young age but he had a lot of dedication. After three failed attempts he finally won the Prix de Rome, the highest honor awarded to composition students which allowed him to study in Rome and other Italian cities.

It wasn’t until the composition Symphonie Fantastique that put him on the map of the music world. Engaged to Camille Moke, he wrote this piece with Harriet Smithson on his mind who he later ended up marrying. Unfortunately the marriage ended up in shambles and Berlioz moved in with another singer, Marie Recio. They wedded only after the death of Harriet. He became a profound prolific writer, critic, and author winning many prestigious awards. He died March 8 buried with both of his wives in Montmartre cemetery.

//**The Music**// Telling bits and pieces of a story is not satisfying to one’s mind, so likewise listening to only one movement of a program symphony is not satisfying to one’s ears.

The first movement beings in a C minor key during the largo but switches to C major when the tempo switches to allegro agitato e appassionato assai. In this movement, the artist is in his drugged state recalling the yearning and passion his beloved has ignited in him. The melody’s movement is usually conjunct played in simple time with very strong accents at times that leaves a very strong impression. During the beginning and ending Berlioz has displayed many consonances which go very well with the love theme. The idee fix is thrown around to different instruments however he assures that the tonality of the piece is indeed there. What I like about this movement is it reminds me of love. It has that smooth heartwarming sound at times and upbeat exciting sounds at another.

The second movement displays a very grand sounding piece which depicts the program quite well. In this movement, the artist dreams he is attending a glittering ball; he glimpses his beloved. The song is quite majestic in a compound time giving a waltz feel, suitable for a ball. The timbre of this movement is not very thick compared to the other movements but I believe that is a positive thing because it brings out the solo sequences some instruments have. Polyphonic texture could be heard but the consonance between the two melodies complements each other more than fighting with each other. The sudden changes in dynamics makes this song that much grander.

The third movement depicts a scene where the artist escapes to the countryside in search of tranquility. While he listens to the lonely piping of shepherds his thoughts return to the beloved and his soul is filled with foreboding. The key is in f major with an adagio tempo to help bring out the sadness and peacefulness of this movement. The loneliness is represented by the oboe’s solo playing as a monophonic texture but gradually harmonics from other instruments are added creating a homophonic texture. What I like about slow pieces is the dynamics are really important and it is really what makes a piece. The use of hairpins and exaggerated swelling really bring out the longing for his beloved.

The fourth movement is my favorite because I feel as if it reflects its program so well. The music gives you a sense of imagery with a strong vibe. The key is in G minor, and in this program, the artist dreams that in a fit of jealous passion he has killed his beloved and been sentenced to death. He is marched to the scaffold for his execution. As his head is laid on the chopping block, his last thought is of his beloved. The thought is interrupted by the fall of the blade, and his severed head tumbles to the ground. The beginning is my favorite. It has very strong downbeats to represent the marching to doom. Because it is such an uneasy feeling in the program, the use of dissonance really compliments that. The tune changes into a more settling sound near the middle, perhaps to signify the death of a murderer.

Like the title suggest, this last movement is very grotesque sounding. The speed begins larghetto but later changes to allegro in a C minor key. The final scene is the artist sees himself at a witches’ Sabbath, in the midst of a hideous gathering of sorcerers and monsters of every kind who have come together for his funeral. Strange sounds, groans, outburst of laughter; distant shouts which seem to be answered by more shouts. It is she who is coming to the Sabbath… Roars of delight at her arrival…She joins the diabolical orgy. This twisted scene is accompanied with deep heavy notes giving a low feeling. There are many dynamic changes for example when the same melody is played more than once, the dynamic switches from loud too soft with a more definite sound.

The whole symphony is played beautifully by The Keio Youth Orchestra. As a fan of romantic pieces for piano, I particularly enjoy Berlioz's style of music for example him introducing col legno into the music world. Romantic pieces are already quite different to what you would normally hear but Berlioz takes it to another level bringing out his notorious personality.

Program symphonies: Harold in Italy, Romeo and Juliet Concert overtures: Waverley, Rob Roy, Le Corsair, King Lear Song cycles(voice with orchestra): Les nuit d'ete Operas: Les Troyens, Beatrice and Benedict, Benvenuto Cellini Choral works: La damnation de Faust, Te Deum, Requiem Oratorio: L'enfance du Christ
 * //Other Works//**