Symphonie fantastique

 ("Fantastical Symphony: Episode in the Life of an Artist … in Five Sections") Op. 14, is a program symphony written by the French composer Hector Berlioz in 1830. It is an important piece of the early Romantic period. The first performance was at the Paris Conservatoire on 5 December 1830. Franz Liszt made a piano transcription of the symphony in 1833 (S. 470).
Leonard Bernstein described the symphony as the first musical expedition into psychedelia because of its hallucinatory and dream-like nature, and because history suggests Berlioz composed at least a portion of it under the influence of opium. According to Bernstein, "Berlioz tells it like it is. You take a trip, you wind up screaming at your own funeral."
In 1831 Berlioz wrote a lesser-known sequel to the work, "Lélio", for actor, soloists, chorus, piano and orchestra.
Overview.
"Symphonie fantastique" is a piece of program music that tells the story of an artist gifted with a lively imagination who has poisoned himself with opium in the depths of despair because of hopeless, unrequited love. Berlioz provided his own preface and program notes for each movement of the work. They exist in two principal versions – one from 1845 in the first score of the work and the second from 1855. From the revised preface and notes, it can be seen how Berlioz, later in his life, downplayed the programmatic aspect of the work.
In the first score from 1845, he writes:
In the 1855 preface, a different outlook towards the work's programmatic undertones is established by Berlioz:
Inspiration.
After attending a performance of Shakespeare's "Hamlet" on 11 September 1827, Berlioz fell in love with the Irish actress Harriet Smithson who had played the role of Ophelia. He sent her numerous love letters, all of which went unanswered. When she left Paris in 1829, they had still not met. Berlioz then wrote "Symphonie fantastique" as a way to express his unrequited love. Harriet did not attend the premiere in 1830, but she heard the work in 1832 and realized Berlioz's genius. The two finally met and were married on 3 October 1833. However, their marriage became increasingly bitter, and they eventually separated after several years of unhappiness.
Instrumentation.
The score calls for a total of over 90 instruments:
Berlioz specified at least 15 1st violins, 15 2nd violins, 10 violas, 11 celli and 9 basses on the score.
Berlioz originally wrote for 1 serpent and one ophicleide, but quickly switched to two ophicleides after the serpent proved to be difficult to use.
Movements.
The symphony has five movements, instead of four as was conventional for symphonies of the time:
Each movement depicts an episode in the protagonist's life that is described by Berlioz in the program notes to the 1845 score. These program notes are quoted in each section below.
I. "Rêveries – Passions" - "Daydreams - Passions".
The first movement is radical in its harmonic outline, building a vast arch back to the home key; while similar to the sonata form of the classical period, Parisian critics regarded this as unconventional. It is here that the listener is introduced to the theme of the artist's beloved, or the "idée fixe". The "idée fixe" begins:
 \relative c" {
 \set Score.tempoHideNote = ##t \tempo 2 = 132
 \set Staff.midiInstrument = #"violin"
 \set Score.currentBarNumber = #72
 \key c \major
 \time 2/2
 \partial 8 g8\p(^\markup {
 \column {
 g1~(
 g4\< c4)\! g4.(\< e'8)\!
 f\> e)\!
 e( d~
 d c)
 c1(
 b4) r4 r4 r8 d,
 d1~(
 d4\< g)\! d4.(\< b'8)\!
 g2(\< d'~)\!
 d fis~(\sf
 g) g~(\>
 g\! f!)
 e r4
</score>
Throughout the movement there is a simplicity in the way melodies and themes are presented, which Robert Schumann likened to Beethoven's epigrams' ideas that could be extended had the composer chosen to. In part, it is because Berlioz rejected writing the more symmetrical melodies then in academic fashion, and instead looked for melodies that were "so intense in every note as to defy normal harmonization", as Schumann put it. The theme itself was taken from Berlioz's "scène lyrique" "Herminie", composed in 1828.
II. "Un bal" - "A ball".
The second movement is a waltz in . It begins with a mysterious introduction that creates an atmosphere of impending excitement, followed by a passage dominated by two harps; then the flowing waltz theme appears, derived from the "idée fixe" at first, then transforming it. More formal statements of the "idée fixe" twice interrupt the waltz.
 \relative c" {
 \set Score.tempoHideNote = ##t \tempo 4. = 60
 \set Staff.midiInstrument = #"violin"
 \set Score.currentBarNumber = #39
 \key a \major
 \time 3/8
 a( gis a b cis d)
 e8.( eis16 fis gis)
 a8.( gis16 b a)
 gis4( fis16) r
 fis4\sf\>(\glissando d16)\! cis
 cis( b) b( a gis a)
 b( ais b) e( dis e)
 cis8
</score>
The movement is the only one to feature the two harps, providing the glamour and sensual richness of the ball, and may also symbolize the object of the young man's affection. Berlioz wrote extensively in his memoirs of his trials and tribulations in having this symphony performed, due to a lack of capable harpists and harps, especially in Germany.
Another feature of this movement is that Berlioz added a part for solo cornet to his autograph score, although it was not included in the score published in his lifetime. The work has most often been played and recorded without the solo cornet part. However, conductors Jean Martinon, Colin Davis, Otto Klemperer, Gustavo Dudamel, John Eliot Gardiner, Charles Mackerras, Jos van Immerseel and Leonard Slatkin have employed this part for cornet in performances of the symphony.
III. "Scène aux champs" - "Scene in the country".
The third movement is a slow movement, marked "Adagio", in . The two shepherds mentioned in the program notes are depicted by a cor anglais (English horn) and an offstage oboe tossing an evocative melody back and forth. After the cor anglais–oboe conversation, the principal theme of the movement appears on solo flute and violins. It begins with:
 \relative c' {
 \set Score.tempoHideNote = ##t \tempo 8 = 84
 \set Staff.midiInstrument = #"violin"
 \set Score.currentBarNumber = #37
 \key f \major
 \time 6/8
 f4.\pp f8( g a)
 bes4( g8) bes( a g)
 \override DynamicLineSpanner.staff-padding = #2
 f(\< f'4)\sf f8(\> e d)\!
 d4.( c8)
</score>
Berlioz salvaged this theme from his abandoned "Messe solennelle". The "idée fixe" returns in the middle of the movement, played by oboe and flute. The sound of distant thunder at the end of the movement is a striking passage for four timpani.
IV. "Marche au supplice" - "March to the scaffold".
Berlioz claimed to have written the fourth movement in a single night, reconstructing music from an unfinished project, the opera "Les francs-juges". The movement begins with timpani sextuplets in thirds, for which he directs: "The first quaver of each half-bar is to be played with two drumsticks, and the other five with the right hand drumsticks". The movement proceeds as a march filled with blaring horns and rushing passages, and scurrying figures that later show up in the last movement.
 \relative c' {
 \set Score.tempoHideNote = ##t \tempo 2 = 72
 \set Staff.midiInstrument = #"cello"
 \set Score.currentBarNumber = #17
 \key g \minor
 \time 2/2
 \clef bass
 g4\f r g'2\ff
 f(\> es4)\! d8-._\markup { \bold \italic "dim." } c-.
 bes4 r a r
 g2(\> f4)\! es8-. d-.
 c4 r bes r
 a2(\> g4)\! a8 bes
 c4\p r a r
 d2
</score>
Before the musical depiction of his execution, there is a brief, nostalgic recollection of the "idée fixe" in a solo clarinet, as though representing the last conscious thought of the soon-to-be-executed man.
V. "Songe d'une nuit du sabbat" - "Dream of a witches' Sabbath".
This movement can be divided into sections according to tempo changes:
 \relative c {
 \set Score.tempoHideNote = ##t \tempo 2 = 86
 \set Staff.midiInstrument = #"tuba"
 \set Score.currentBarNumber = #127
 \key c \minor
 \time 3/4
 \clef bass
 d->
 es->
 c->
 d->
 bes->
 c->
 c->
 es->
 es->
 f->
 es->
 d->
 c->
 bes->
 d->
 es->
 d~->
 d4.~ d8 c4
 c2.~->
 c2.
</score>
There are a host of effects, including trilling in the woodwinds and "col legno" in the strings. The climactic finale combines the somber Dies Irae melody, now in A minor, with the fugue of the "Ronde du Sabbat", building to a modulation into E-flat major, then chromatically into C major, ending on a C chord.