AS Music: Berlioz: Harold In Italy Movement III

Revision cards for edexcel AS music set work - Berlioz: Harold in Italy movement III

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  • Created by: Bethan
  • Created on: 22-04-12 12:07

Features of the Romantic Period

  • Programme music (to go with a story/piece of music/artwork - this was written for a poem by Lord Byron
  • Using a recurring idee fixe reminiscent of Wagner's light motif.
  • Influences from folk music (imitation of pifferi and Italian saltarello rhythms)
  • Expanded orchestra size
  • Use of chromaticism
  • Predominantly for solo viola/solo cor anglais - almost like a concerto -, which would not have been used as solo instruments in the Classical period
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Performing Forces and Their Handling

  • Unusual combination of instruments - piccolo, cor anglais solo, harp, viola solo, 4 horns, no trumpets/trombones/percussion
  • Piccolo and oboe at the opening represent Italian pifferi (rustic oboes)
  • Violins + cellos play pizzicato and use double stopping during the serenade, mimicking guitar
  • Strings play arco again (with the bow) (bar 53)
  • Strings play con sordini (with mutes) (final section)
  • Clarinet uses low chalumeaux register with broken chords (48)
  • Harp plays harmonics (the circle signs above the notes) in the finanl section
  • Solo viola part is not technically difficult - octave passages at 99 are the most demanding feature
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  • Tonality of allegro assai is defined by pedal C in bassoon
  • Modal inflections (B flat)
  • Serenade theme is in C
  • Only strong modulation is in the return of the serenade theme at 100 in D minor
  • Music remains in C major from return of saltarello theme (136 to the end)
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Rhythm and Metre

  • Compound duple time (6/* - don't write it as a fraction in the exam)
  • Tempo of allegro assai is double that of the opening allegrett
  • Melodic ideas of the piccolo and oboe have marked accents on the 2nd beat of the bar
  • Serenade explores the possibilities of mixing 3/4 and 6/8 (e.g. 3rd bar of serenade melody)
  • melodic idea is ornamented with semiquavers at 132 and in the clarinet accompaniment at 48
  • Triplet semiquavers (77)
  • Hint of rhythmic augmentation in 192 as final motif is turned from semiquavers to quavers to complete the phraseC
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Sorry, GetRevising decided to die on me while I was writing this. Can't seem to edit it or get it finished.



Not good enough



Sorry, what?



And if you're the same Tom who swore on my other resource, you're possibly the rudest person I've ever encountered.

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