symphonie fantastique

Are you all ready for a bit more classical music history?

This time I'll share with you a piece by the French composer Hector Berlioz: Symphonie Fantastique.

Said to be modelled after his own obsession over an actress named Harriet Smithson (who he eventually did marry), it was written in 1830, but changes after the initial performance have made it what you're hearing today.

  

In high school, I was part of a youth symphony that played part of this.  I will always remember the giggling and poking that went around when our conductor told us about the fourth movement where a head is chopped off and goes bouncing down stairs.  But then we heard it and understood. 

Also, listen closely for the recurring melody.  It represents the woman or obsession.

Berlioz, like Respighi, wrote program notes and requested that they be distributed whenever the piece is performed.  These notes have been translated and can be found here, but I'll cut and paste to make this easier while you listen.

"The composer’s intention has been to develop various episodes in the life of an artist, in so far as they lend themselves to musical treatment. As the work cannot rely on the assistance of speech, the plan of the instrumental drama needs to be set out in advance. The following programme* must therefore be considered as the spoken text of an opera, which serves to introduce musical movements and to motivate their character and expression.

*This programme should be distributed to the audience at concerts where this symphony is included, as it is indispensable for a complete understanding of the dramatic plan of the work. [HB]

Part one: Daydreams, passions

The author imagines that a young musician, afflicted by the sickness of spirit which a famous writer has called the vagueness of passions (le vague des passions), sees for the first time a woman who unites all the charms of the ideal person his imagination was dreaming of, and falls desperately in love with her. By a strange anomaly, the beloved image never presents itself to the artist’s mind without being associated with a musical idea, in which he recognises a certain quality of passion, but endowed with the nobility and shyness which he credits to the object of his love.

This melodic image and its model keep haunting him ceaselessly like a double idée fixe. This explains the constant recurrence in all the movements of the symphony of the melody which launches the first allegro. The transitions from this state of dreamy melancholy, interrupted by occasional upsurges of aimless joy, to delirious passion, with its outbursts of fury and jealousy, its returns of tenderness, its tears, its religious consolations – all this forms the subject of the first movement.

Part two: A ball

The artist finds himself in the most diverse situations in life, in the tumult of a festive party, in the peaceful contemplation of the beautiful sights of nature, yet everywhere, whether in town or in the countryside, the beloved image keeps haunting him and throws his spirit into confusion.

Part three: Scene in the countryside

One evening in the countryside he hears two shepherds in the distance dialoguing with their ‘ranz des vaches’; this pastoral duet, the setting, the gentle rustling of the trees in the wind, some causes for hope that he has recently conceived, all conspire to restore to his heart an unaccustomed feeling of calm and to give to his thoughts a happier colouring. He broods on his loneliness, and hopes that soon he will no longer be on his own… But what if she betrayed him!… This mingled hope and fear, these ideas of happiness, disturbed by dark premonitions, form the subject of the adagio. At the end one of the shepherds resumes his ‘ranz des vaches’; the other one no longer answers. Distant sound of thunder… solitude… silence…

Part four: March to the scaffold

Convinced that his love is spurned, the artist poisons himself with opium. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the strangest of visions. He dreams that he has killed his beloved, that he is condemned, led to the scaffold and is witnessing his own execution. The procession advances to the sound of a march that is sometimes sombre and wild, and sometimes brilliant and solemn, in which a dull sound of heavy footsteps follows without transition the loudest outbursts. At the end of the march, the first four bars of the idée fixe reappear like a final thought of love interrupted by the fatal blow.

Part five: Dream of a witches’ sabbath

He sees himself at a witches’ sabbath, in the midst of a hideous gathering of shades, sorcerers and monsters of every kind who have come together for his funeral. Strange sounds, groans, outbursts of laughter; distant shouts which seem to be answered by more shouts. The beloved melody appears once more, but has now lost its noble and shy character; it is now no more than a vulgar dance tune, trivial and grotesque: it is she who is coming to the sabbath… Roar of delight at her arrival… She joins the diabolical orgy… The funeral knell tolls, burlesque parody of the Dies irae,** the dance of the witches. The dance of the witches combined with the Dies irae.

**A hymn sung in funeral ceremonies in the Catholic Church. [HB]"

I don't think there's much more I could add!

Enjoy and happy quilting,

Katie

PS I hope to get some good photos of recently completed quilts to share this weekend!

the pines of rome

Starting in 6th grade my school offered band, orchestra and choir.  I started playing flute in the band.  In 7th grade, I started private lessons - the beginning of classical training - that continued through high school.  In 8th grade I saved my babysitting money and bought a piccolo.  I played both through college and a little beyond.  I played in concert bands, marching bands, full orchestras, pit orchestras and in various groups at my church.  I performed for various competitions.  I went to summer camps with my flute and piccolo, too.  I loved it all.

I listen to all sorts of music, but if I have to choose what to play...put me smack in the middle of a full orchestra (the one with string AND woodwind and brass and percussion instruments) and I'm a happy gal.  It's loud.  The floor shakes when the drums get going.  There's a living energy.  There is truly no combination of speakers and stereo systems that can duplicate it.  Believe me, I've tried!

By now the music has started.  "The Pines of Rome" by Ottorino Respighi.

(Turn on your speakers if you've got them!)

This is a piece I've played.  In high school.

I love it. 

So I thought I'd share it.  And a bit about the piece.  I knew a little of the background and inspiration for it when I played it, but I've dug a little deeper for you.  Just like quilters finding inspiration all around them, so do musicians and composers.

The piece is in four movements.  Pines of the Villa Borghese, Pines Near a Catacomb, The Pines of the Janiculum, and Pines of the Appian Way.

It premiered in 1924 in Rome and was booed for the rather obnoxious trumpet blasts at the end of the first movement and recording of nightingale at the end of the third.  But the remainder of the piece obviously won over audiences or we wouldn't be listening to it today.

Respighi published descriptions of his visions in writing these pieces.  (Much like "art" quilts with creator descriptions.)  If we want to get fancy, these would be called symphonic poems.  He was inspired by the pine trees around Rome and the things he saw taking place around them.  Program notes from the Redwood Symphony performance of this piece give the following of his published descriptions:

Pines of the Villa Borghese

"Children are at play in the pine groves of Villa Borghese; they dance round in circles. They play at soldiers, marching and fighting, they are wrought up by their own cries like swallows at evening, they come and go in swarms."

Pines Near a Catacomb

"Suddenly the scene changes -- we see the shades of the pine trees fringing the entrance to a catacomb. From the depth rises the sound of a mournful chant, floating through the air like a solemn hymn, and gradually and mysteriously dispersing."

The Pines of the Janiculum

"There is a thrill in the air: the pine-trees of the Janiculum stand distinctly outlined in the clear light of the full moon. A nightingale is singing."

Pines of the Appian Way

"Misty dawn on the Appian Way: solitary pine trees guarding the magic landscape; the muffled, ceaseless rhythm of unending footsteps. The poet has a fantastic vision of bygone glories: trumpets sound and, in the brilliance of the newly-risen sun, a consular army bursts forth towards the Sacred Way, mounting in triumph to the Capitol."

You may recognize some of the music, as it's been used in movies.  Fantasia 2000 is probably the most well-known one.  (But if you're like me, you get wrapped up in the visual part and the music goes unnoticed...you wouldn't think after all that training I would miss it, but I do!)

I hope you enjoy it!

And if I get enough positive feedback, I'll try to do one of these every so often.

Happy quilting (and listening),

Katie

PS Because I know you'll ask or wonder...  With all the groups I auditioned for and was accepted into, I guess I'd have to admit I was pretty good on piccolo and flute (being proficient on piccolo opened a lot of doors for me that a flute alone would not - and I love my piccolo).  And when I consider what a slacker I was about practicing, but was still able to pull off performances without a hitch, I suppose I'd have to admit I was pretty good.  I haven't played in a long time.  Maybe I should get it out, dust it off and see how awful I am now!

PPS This recording is of a group of high school students.  If you listen closely you can hear people coughing and a few less than perfect notes.  But I love that much more for it.  It's not polished and perfect and professional.  It's kids showing off their individual talents.  :)