Berlioz's Symphonie Fantastique

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Symphonie Fantastique was composed in 1830 and in December of the same year, it was performed. Berlioz written this piece in 1831 during his stay in Italy but it was not published until 1845. Berlioz’s name is always most well associated with Symphonie Fantastique. Beethoven’s impact on his work is evident in this piece but Berlioz had also discovered and created pathways that Beethoven did not explored. Berlioz’s originality shone through this piece and showed his uniqueness and specialness. Ludwig van Beethoven was born in in 1770 in Germany and died in March 26 1827 at the age of 57. He is considered one of the most influential composer as he discovered and opened pathways for the Romantic Period, he did this by writing new ideas into forms…show more content…
Beethoven approaches the piece with the attitude of an emotional outlet and he takes into consideration the musical structures and forms, whereas Berlioz uses his music as an emotional outlet and often does not care much about the musical structures or forms. Berlioz’s piece is in no traditional form of music while Beethoven’s piece is in a sonata form. Beethoven’s Symphony No.5 1st movement is based on 2 motifs, usually sonatas and other pieces in the classical period are based on 1 or more melodies. Possibly the most famous motif, the short-short-short-long (Dun Dun Dun Duuuun) is written by Beethoven. The Symphonie Fantastique is based on a motif, the Idee Fixe which is evident through all 5 movements of the symphony. The last appearance of the idee fixe is in bars 21-78 and it was quickly dismissed. Both of the pieces are something called a program music, they are both a representation of something. Berlioz’s piece is about his depiction of his murdered of his beloved then a group of witches greet him. Berlioz used the Dies irae (music commonly played in Catholic funerals) in bars 127-221 to add a factor of shock and irony and uniqueness to his piece. The first four notes of Beethoven’s Symphony No.5 is described by him as “fate knocking at the door”. Berlioz’s and Beethoven’s piece used a cyclic form, a compositional form

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