ORCHESTRAL ACCOMPANIMENT IN THE VOCAL WORKS OF HECTOR BERLIOZ ...

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ORCHESTRAL ACCOMPANIMENT IN THE VOCAL WORKS
OF HECTOR BERLIOZ
DISSERTATION
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
Doctor of Philosophy
By
Namjai Lee, B.M., M.M., M.M.
Denton, Texas
May, 1994
d'n
4
ORCHESTRAL ACCOMPANIMENT IN THE VOCAL WORKS
OF HECTOR BERLIOZ
DISSERTATION
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
Doctor of Philosophy
By
Namjai Lee, B.M., M.M., M.M.
Denton, Texas
May, 1994
CA
Lee, Namjai, Orchestral Accompaniment of the Vocal
Works of Hector Berlioz. Doctor of Philosophy (Musicology),
May 1994, 368 pp, 9 tables, 72 examples, 16 figures, appen-
dix, bibliography, 187 titles.
Recent Berlioz studies tend to stress the
significance of the French tradition for a balanced
understanding of Berlioz's music. Such is necessary because
the customary emphasis on purely musical structure inclines
to stress the influence of German masters to the neglect of
vocal and therefore rhetorical character of this tradition.
The present study, through a fresh examination of Berlioz's
vocal-orchestral scores, sets forth the various
orchestrational patterns and the rationales that lay behind
them.
In order to attain a comprehensive perspective the
scores were examined from three different viewpoints.
First, an examination of the instrumentation of the
compositions as a whole and their components. Second, a
discussion of the individual instruments, in terms relevant
to the examples found in his vocal works, in the manner of
Berlioz's own Treatise on Instrumentation. Third, a
synthesis of these observations into associative patterns
that are considered either musical or extra-musical
patterns.
One of the difficulties that confounds the writer of
a rhetorical study of music is the lack of systematization
which hinders the presentation of logical and self-
sufficient conclusions. As an aid to the understanding of
my conclusions, they have been applied to a study of
Berlioz's Harold in Italy, chosen because its viola solo and
orchestral accompaniment are analogous to the voice and
accompaniment in his vocal works. The results of this
application confirm that the vocal models complement
Berlioz's outward symphonic formal structure, and that these
models play an important role in his purely instrumental
works as well. Since the stylistic relationship between the
vocal and instrumental music is highly elusive, the corre-
lation found in parallel instances in Berlioz's vocal and
instrumental works provide concrete evidence that can be
used effectively to more clearly understand Berlioz's
intentions.
Copyright by
Namjai Lee
1994
in
TABLE OF CONTENTS
Page
List of Tables vi
List of Examples vii
List of Figures xi
Chapter
I. INTRODUCTION 1
II. CLASSIFICATION OF THE VOCAL-ORCHESTRAL WORKS OF
BERLIOZ 17
Vocal Forces and Instrumentation 18
III. SURVEY OF THE COMPONENTS OF MULTI-MOVEMENT
WORKS 33
Solo Songs and Arias 33
Duos and Trios 41
Female and Male Choruses 55
Mixed Choruses 7 8
Double and Triple Choruses 102
IV. DRAMATIC SCENES 110
V. INDIVIDUAL INSTRUMENTS AND THEIR COMBINATIONS . 156
String Instruments 158
Woodwind Instruments 17 6
Brass Instruments 186
Percussion 204
Miscellanies 211
VI. MUSICAL ELEMENTS IN THE VOCAL-ORCHESTRAL WORKS
OF BERLIOZ 224
Ascendant Instrumental Structures 224
Fugal Procedures 239
Combinations of Themes 241
Meter, Tempo, and Rhythm 245
IV
Accompanimental Figures 2 57
Structural Elements 272
Contrast 282
VII. EXTRA-MUSICAL ELEMENTS 286
Word-painting 286
Supernatural Elements 2 90
Militaristic Elements 298
Social Classes 300
Abstract Ideas 3 04
VIII. CONCLUSION/APPLICATION 305
APPENDIX 334
BIBLIOGRAPHY 355
v
LIST OF TABLES
Table
1. Instrumentation of Les nuits d'ete 22
2 . Classification of Berlioz's Vocal-Orchestral
Works by Their Instrumentations . . .. 32
3 . Classification of Solo Songs by Instrumentation 36
4. Instrumentation of the Arias 40
5 . Instrumentation of the Duos and Trios 53
6. Instrumentation of the Female Choruses . . .. 62
7 . Instrumentation of the Male Choruses 75
8 . Instrumentation of the Mixed Choruses 101
9. Instrumentation of the Double and Triple
Choruses 109
VI
LIST OF EXAMPLES
Example page
1. The musical characterization of persuasive process
between Marguerite and Faust in the "Duo"
(Hlll-13) 46
2. Marguerite's chromatic descending line at the end
of the "Duo." 48
3. Similarities between the "Chanson de brigands" and
Le chasseur danois 69
4. Two male choruses with guitar accompaniment in
Benvenuto Cellini 72
5. The same musical material in the Resurrexit (H20B)
and Benvenuto Cellini (H76A-8) 86
6. The beginning of the "Offertory" showing the fugal
entrances, vocal ostinato, and instrumental
ostinato 91
7. Soprano arpeggio obbligatos 104
8. The progression of bass line in the "Dignare" of
the Te deum (HI 18-3 ) 107
9. The oboe used as a caricatural representation
of the cabaretier 122
10. The Cardinal scene (H76A-14) 128
11. Hunting horns in the "Recitatif et chasse" (Hlll-
IV) 134
12. The beginning of the "Pandaemonium" (Hlll-19). . . 135
13. "Herode et les devins" (H130-I-4) 138
14. Choral and instrumental fugues representing the
actions (H130-III-2) 141
15. A ghost scene in Les trovens (H133A-12) 145
Vll
16. The chorus of the Trojan women (H133A-16) 147
17. Two versions of the "Chant national" (H133A) . . . 150
18. Alternation of the same figure between two
violins 161
19. Multiple divisions of the Violins 162
20. Omission of the violins 165
21. Undulating tremolo in Herminie (H29) 167
22. Four-part divisi viola in the "Agnus dei" of the
Requiem (H75-10) 170
23. King Priam represented by the divided Lower
Strings 172
24. Surging lower strings in "Invocation a la nature"
(Hlll-16) 173
25. Lower strings at the transitional passages. . . . 175
26. Two flute passages in the Requiem 177
27. The piccolos in the magic chords of
Mephistopheles 179
28. The oboes in the vocal-orchestral works of
Berlioz 180
29. The doubling the clarinet and viola in the
"Concert de sylphes" (H33-3) . . . 184
30. The bass clarinet in the "Scene et sextour" (H76A-
14) 185
31. Bassoons in La damnation de Faust (Hill) 187
32. Introduction of Helene (H40B) 190
33. The stopped horns
34. Cornet a pistons 194
.35. The trombones 199
36. Ophicleide 201
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