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... Composers put an
emphasis on lyrical songlike melodies, used adventurous modulations and richer often
chromatic harmonies with striking use of dischords. Larger chords were used to create
dense weighty textures and bold dynamic contrasts were used. ... Berlioz would be
excited when new instruments came along and he would sometimes re-orchestrate
pieces to include the new instruments. Berlioz led the way with orchestration and
would be very specific about which instruments he used and the directions as to how
to play them. ... This often
meant he would use outsider instruments that don’t often appear in orchestras. ... However that doesn’t feature in the
fourth movement which is being discussed but it shows the extent he was willing to
go to.
In the fourth movement there are two flutes and two oboes as usual but there
are some differences in the woodwind. ... Although four bassoons
are standard now, at the time only two bassoons would be used however Berlioz
doubled the amount of bassoons for Symphonie fantastique to four. ... He decided if
players were going to use these instruments they should have parts which took
advantage of their virtues so he changed the Trumpet line. ... Berlioz liked the sound of
three Trombones playing quietly a lot and in this movement it only appears briefly at
bar 56. ... In the original score two Ophiclides were used. ... He also specifies wooden sticks to be used at
bar 121 instead of padded ones. ... With all these
instruments Berlioz could produce huge contrasts in dynamics and texture but at the
start he leaves the texture quite sparse. ...
The cymbal and bass drum players are instructed to dampen their instruments with
their hands so that the note is short. ...
Instead of composers writing a piece on piano like many did in the classical period
and then working out how to orchestrate it Berlioz thought of how he could exploit all
the instruments at his disposal from the start. There is no movement in the piece
where he does not tread new ground. The expression of this piece is let out in the
timbres of all the different instruments as well as the dynamics and harmonies. He
used novel instruments which were only previously used in opera. ... Composers put an
emphasis on lyrical songlike melodies, used adventurous modulations and richer often
chromatic harmonies with striking use of dischords. Larger chords were used to create
dense weighty textures and bold dynamic contrasts were used. ... Berlioz would be
excited when new instruments came along and he would sometimes re-orchestrate
pieces to include the new instruments. Berlioz led the way with orchestration and
would be very specific about which instruments he used and the directions as to how
to play them. ... This often
meant he would use outsider instruments that don’t often appear in orchestras. ... However that doesn’t feature in the
fourth movement which is being discussed but it shows the extent he was willing to
go to.
In the fourth movement there are two flutes and two oboes as usual but there
are some differences in the woodwind. ... Although four bassoons
are standard now, at the time only two bassoons would be used however Berlioz
doubled the amount of bassoons for Symphonie fantastique to four. ... He decided if
players were going to use these instruments they should have parts which took
advantage of their virtues so he changed the Trumpet line. ... Berlioz liked the sound of
three Trombones playing quietly a lot and in this movement it only appears briefly at
bar 56. ... In the original score two Ophiclides were used. ... He also specifies wooden sticks to be used at
bar 121 instead of padded ones. ... With all these
instruments Berlioz could produce huge contrasts in dynamics and texture but at the
start he leaves the texture quite sparse. ...
The cymbal and bass drum players are instructed to dampen their instruments with
their hands so that the note is short. ...
Instead of composers writing a piece on piano like many did in the classical period
and then working out how to orchestrate it Berlioz thought of how he could exploit all
the instruments at his disposal from the start. There is no movement in the piece
where he does not tread new ground. The expression of this piece is let out in the
timbres of all the different instruments as well as the dynamics and harmonies. He
used novel instruments which were only previously used in opera. ... Composers put an
emphasis on lyrical songlike melodies, used adventurous modulations and richer often
chromatic harmonies with striking use of dischords. Larger chords were used to create
dense weighty textures and bold dynamic contrasts were used. ... Berlioz would be
excited when new instruments came along and he would sometimes re-orchestrate
pieces to include the new instruments. Berlioz led the way with orchestration and
would be very specific about which instruments he used and the directions as to how
to play them. ... This often
meant he would use outsider instruments that don’t often appear in orchestras. ... However that doesn’t feature in the
fourth movement which is being discussed but it shows the extent he was willing to
go to.
In the fourth movement there are two flutes and two oboes as usual but there
are some differences in the woodwind. ... Although four bassoons
are standard now, at the time only two bassoons would be used however Berlioz
doubled the amount of bassoons for Symphonie fantastique to four. ... He decided if
players were going to use these instruments they should have parts which took
advantage of their virtues so he changed the Trumpet line. ... Berlioz liked the sound of
three Trombones playing quietly a lot and in this movement it only appears briefly at
bar 56. ... In the original score two Ophiclides were used. ... He also specifies wooden sticks to be used at
bar 121 instead of padded ones. ... With all these
instruments Berlioz could produce huge contrasts in dynamics and texture but at the
start he leaves the texture quite sparse. ...
The cymbal and bass drum players are instructed to dampen their instruments with
their hands so that the note is short. ...
Instead of composers writing a piece on piano like many did in the classical period
and then working out how to orchestrate it Berlioz thought of how he could exploit all
the instruments at his disposal from the start. There is no movement in the piece
where he does not tread new ground. The expression of this piece is let out in the
timbres of all the different instruments as well as the dynamics and harmonies. He
used novel instruments which were only previously used in opera.
Approximate Word count = 5739
Approximate Pages = 23
(250 words per page double spaced)
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