Coherence and Diversity in the "Symphonie fantastique"

Author(s): Paul Banks

Source: 19th-Century Music, Vol. 8, No. 1 (Summer, 1984), pp. 37-43
Published by: University of California Press
Stable URL: http://www.jstor.org/stable/746249
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Coherence and Diversity
in the Symphoniefantastique
PAUL BANKS
During the 1970s the Symphonie fantastique
was the subject of four important publications:
Nicholas Temperley's article about the work
and its program, EdwardT. Cone's edition and
analysis of the score, and the musicological
studies by Temperley and D. Kern Holoman.1
The chief concern of Cone's analysis was to dis-
cuss the thematic/motivic coherence of the
work, while the mutually complementary
studies by Temperley and Holoman sought to
'Temperley, "The Symphonie fantastique and its Pro-
gram,"Musical Quarterly57(1971), 593-608. Cone, Hector
Berlioz:Fantastic Symphony;An Authoritative Score,His-
torical Background,Analysis, Views and Comments (New
York, 1971). Temperley, ed., Berlioz: Symphonie fantas-
tique, New Edition of the Complete Works(hereafterNBE),
vol. 16 (Kassel,etc., 1972).Holoman, The CreativeProcess
in the Autograph Musical Documents of Hector Berlioz,
2nd edn. (Ann Arbor,1980).
19th-Century Music VIII/1 (Summer 1984). ? by the Re-
gents of the University of Califoria.
achieve, through the study of the autograph
score and related sources, an understanding of
the work's evolution. This understanding re-
emphasized that duringthe first four years of its
existence the Fantastique underwent major
structural changes that altered not only the
shape of individual movements, but also the de-
sign of the whole work.2This is not a matter of
historical interest alone: the modifications also
reveal something about Berlioz's preoccupa-
tions as a composer, and in particularabout his
concern for coherence and continuity in a
multi-movement instrumental work.
Some clues to the work's history up to the
completion of the original score may be gleaned
from Berlioz's correspondence.In a letter dated
2Manyof these revisions were recordedin the critical mat-
ter of Malherbe and Weingartner'sedition: Hector Berlioz
Werke,vol. I (Leipzig,1900).
37

CENTURY 6 February 1830,3 Berlioz wrote to Humbert Fer-
MUSIC rand that he was "sur le point de commencer
mon grande symphonie (Episode de la vie d'un
artiste)." In fact the idea of a large-scale instru-
mental composition had been in Berlioz's mind
for some time, and his reference in a letter of 2
February 1829 to "une symphonie descriptive
de Faust"4 suggests that Goethe was one of the
sources of its initial inspiration. On 16 April
1830 Berlioz again wrote to Ferrand of the sym-
phony, this time including a detailed program-
matic description; he further reports that he has
finished the last note.5 Since by that time the
work had been scheduled for a concert on 30
May, and since there was at least one partial re-
hearsal in May,6 Berlioz must surely have been
referring to the completion of the score itself.
The letter of 16 April reveals that at that date
the Adagio came second and the Valse, third.
The May concert never took place, and the sym-
phony was first heard at the Paris Conservatoire
on 5 December 1830, with the movements per-
formed in the now-familiar order.
The autograph score (F-Pn ms 1188), how-
ever, contains evidence that at an early stage in
its composition, Berlioz planned the work in
four, not five, movements. On the title pages of
what are now the first and fourth movements7
the work is described as being "en 4 5 parties,"
and the Marche au supplice is referred to as as
"No 3 4." From this evidence, Nicholas Tem-
perley reasoned8 that either the second or the
third movement had been added to a four-move-
ment design. It is worth pointing out that the
four original title pages to survive were clearly
written at different stages:
3Berlioz,Correspondancegenerale, vol. I, ed. PierreCitron
(Paris,1972),pp. 305-06.
4CorrespondanceI, p. 232. See also The Memoirsof Hector
Berlioz, trans.David Caims (variousedns., including St. Al-
ban's, 1974),p. 148.
5CorrespondanceI, pp. 318-20.
6Memoirs,p. 149. According to CorrespondanceI, p. 331,
there were two rehearsals.
7Therearetwo title pagesforthe movement, the earlierhav-
ing to do with its origin in Les Francs-Juges;both arerepro-
duced in NBE 16 (pp. 183-84). It is to the later page that I
referhere.
8NBE16, ix; see also Temperleyin MQ, p. 603.
38
1. Between February 1830 and 16 April 1830: title
pages to movements I and IV. These give the origi-
nal numbering and the later correction.
2. Between 16 April and 21 May 1830: title page to
movt. II.9This shows the revised numbering, the
first datable evidence for which is the program
printed in Le Figaroon 21 May.10
3. Sometime after stage 1: title page to movt. V. This
shows the correctnumbering,so it must have been
prepared after the decision to include the new
movement.
As Temperley observes, the new movement
was in all probability the Valse, since the alter-
native would have meant that the symphony
had no slow movement. The one movement
that certainly led an earlier and separate exist-
ence, the Marche," had already been incorpo-
rated into the design; and even in the earliest
conceptions was linked in Berlioz's mind with
the last movement as the "premiere partie de la
Vision."'2 The Valse, a surrogate scherzo, was
given its expected position after the slow move-
ment. This was approximately the scheme Ber-
lioz had identified in Beethoven's "Pastoral"
Symphony.
Since there was a clear, and for Berlioz a fa-
miliar, precedent for this expansion of the tradi-
tional symphonic plan,13 there must have been
compelling reason for his second major struc-
tural change, the decision to reverse the order of
the Valse and the Scene aux champs. The most
obvious effect of the change has something to
9Thisis preservedas a collette to p. 62 of movt. I. Thereis no
other title pagefor the movement. See NBE 16, p. 171. (Here
and elsewhere upper-caseRoman numers referto the final
movement order.)
'lThere is also an undated autographdraftof this program;
see NBE 16, p. 167. The chronologyproposedhere conflicts
with that suggestedby Holoman on the basis of papertypes;
see Holoman Autographs,p. 357 fn. 54.
"This movement, originally called Marche des gardes,
formedpartof the music for Les Francs-fuges.
'2SeeNBE 16, p. 184.
'3Beethoven'sSixth Symphonywas first performedin Paris
on 15 March 1829 at a Conservatoireconcert conductedby
Habeneck;it was repeatedon 12 April 1829. See Societe des
Concerts du Conservatoire:liste generale des programmes
depuis 1828, a manuscriptfound as F-PcRes. F. 1666. I am
gratefulto JanetRittermanfor drawingthis sourceto my at-
tention. I should also like to thank Dr. BarbaraBarryforher
valuable advice.

do with overall balance. In the original five-
movement version, two of the longest and
structurally most complex movements were
followed by the two shortest and simplest ones.
The Songe d'une nuit du sabbat could hardly
balance the weight of musical argument placed
at the beginning of the work. The result was a
structural decrescendo common enough in
eighteenth-century symphonies but unconge-
nial to the post-Beethovenian symphonist.
Early in 1830 the imbalance was even more
acute, for although the Marche and Songe were
somewhat longer and the slow movement per-
haps shorter, the first movement was substan-
tially longer, containing possibly 620 measures
instead of the present 525.'4 The result of the
second major structural change was a balanced
overall shape with the longest single move-
ment, the Adagio, at the center, flanked sym-
metrically by the two other long movements
and separatedfrom them by the two short genre
movements.
Romantic composers typically concerned
themselves with an exploration of music as mo-
tion, with music as becoming. The Symphonie
fantastique consistently exploits the motion of
music through time-motion both within
movements and between and across them. This
motion is counterpointed with the stability cre-
ated by the movement orderingof the final five-
movement version. Musical motion within
movements is a product of the language at Ber-
lioz's disposal; more unusual is the sense of mo-
tion, evolution, and continuity between the
movements that he was able to create.
On one level a purposeful process spanning
the whole work emerged as a result of the
change in movement order.During the first four
movements the role of the idee fixe is succes-
sively reduced in significance; in the central
movements its structural role is systematically
curtailed, a curtailment paralleled by a corres-
ponding contraction in the amount of musical
space the idee fixe occupies. In movt. I it occu-
pies center stage as the principal theme of the
'4SeeNBE 16, pp. 206-10 and Holoman Autographs,p. 269.
The coda of movt. II was almost certainly not addeduntil
afterApril 1830; see below.
PAUL
Allegro agitato. In movt. II, the idee fixe is the BANKS
contrasting material in a ternary design, and Symphonie
makes a brief appearancein the coda, occupying fantastique
about 55 out of 368 measures. At a late stage in
the work's history Berlioz emphasized the ex-
tent to which the idee fixe is a contrasting idea
within the Valse, when in 1845 he revised the
central portion of the movement by replacinga
non-thematic accompaniment with fragments
of the waltz theme.'5 (The fact that a straight-
forwardcombination of the two ideas is not at-
tempted stresses their difference: the very in-
completeness of the waltz theme reveals their
contrapuntal incompatibility.) In the slow
movement the role of the idee fixe is reduced
still further: it is merely the consequent to one
of the chief contrasting ideas (mm. 87ff.) and
makes two very brief appearances toward the
end of the movement: thirteen measures in a
movement of over 150. The idee fixe plays no
structural role in the Marche au supplice be-
yond that of a foreign body that makes a fleet-
ing, 41/2 measure appearance at the end-added,
as the evidence shows, sometime in 1830.16
Because the idee fixe is superficially related
to common nineteenth-century techniques of
thematic recall and cyclical return, it might ap-
pear that Berlioz's device is merely a manifesta-
tion of the Romantic need for unification of di-
versity. This line of thought leads inevitably to
the view that the appearanceof the idee fixe in
the Marche is a trivial and unsuccessful attempt
at the creation of cyclical unity; such reasoning,
however, fails to observe the true nature of the
device. Initially it appearsthat the relationship
of the idee fixe to the surrounding foreground
musical material is that of unifying device. In
the main body of the first movement it is the
foregroundmaterial, and in the second it is the
chief contrasting idea. In the next two move-
ments, however, its structuralrole is drastically
curtailed, and within the three central move-
ments it occupies progressively less musical
space. This step-by-step negation of the theme
"Holoman Autographs,pp. 279ff.
'6NBE16, pp. 206-08 transcribesor describessix versions of
the endingof the movement; see also HolomanAutographs,
p. 265.
39
 19TH is taken still furtherin the final movement: first
CENTURY
MUSIC the melody negates itself by grotesque transfor-
mation (starting at m. 40), and then, apartfrom
brief backgroundallusions, it is excluded from
the main body of the movement. The Songe
thus systematically reverses the organizationof
the first movement, which begins with an intro-
duction that merely hints at the contours of the
idee fixe. Moreover the final movement does
not merely complete the overall process initi-
ated in the earlier ones; it also encapsulates the
whole process within itself.
Unlike the static relationship between unify-
ing material and musical foregroundof a con-
ventional cyclical work (e.g., the Franck Piano
Quintet), a gapbetween recurringidea andother
foregroundmaterial widens as the Fantastique
progresses:17diversity grows out of unity. This
process, coupled with a finale which, far from
discharging musical tensions and conflicts, ac-
tually heightens them, creates a non-resolving
overall design: not only does it articulate the
"Romantic delight in indissoluble mixtures, all
contrarities," but it also reaffirms the Roman-
tics' "secret attraction to a chaos which lies
concealed in the very bosom of the ordereduni-
verse."'8 Moreover the structure is typically
Berliozian in its projection of the process: this is
not presented as an evolving continuum, but in
the form of discrete, isolated moments. This de-
liberately discontinuous structure, which
clearly prefigures Berlioz's treatment of narra-
tive in the dramatic works, parallels to a strik-
ing degree Victor Hugo's rejection of "the linear
plot-development of the traditional serious
dramaof the rationalist neo-Classical era."'9
Having created this tension between coher-
ence and separateness by changing the orderof
the inner movements, Berlioz directed some of
his later revisions toward the creation on other
levels of musical structure of continuity and
growth between movements. Between the first
rehearsaland the first publication (Liszt'spiano
transcription, 1834), Berlioz subjected the first
170n a deeper level, though, as Cone's analysis demon-
strates, the idge fixe, having ceasedto operateas a structural
element in the musical foreground,takes on a limited role
as a backgroundunifying device in the last two movements.
"A. W. Schlegel,A Courseof Lectureson DramaticArt and
Literature,trans. J.Black (London,1846),pp. 342,343.
'9W. D. Howarth, Sublime and Grotesque: a Study of
FrenchRomantic Drama (London,1975),p. 164.
40
two movements to major overhaul and (appar-
ently) rewrote movement IIIaltogether.20
The changes to have the greatest effect on the
inter-movement continuity of the work are
those at the ends of the first three movements.
All aim to undermine the sense of closure and/
or to establish some musical link with the suc-
ceeding movements. By breakingdown the divi-
sions between movements, the sense of musical
motion from movement to movement is
heightened. Such localized and frequently non-
thematic processes create the illusion that mu-
sical time continues during the articulating si-
lence, and this illusion modifies the sense of the
separateness of the individual movements that
results from the treatment of the idee fixe.
Although similar in effect, the three revi-
sions seem to have been made at different
times. The earliest was probablyfor the Scene
aux champs: Berlioz's letter of 16 April makes
no mention of a "bruit eloigne du tonnere," and
neither the autograph draft of the program
(April-May 1830), nor its publication in Le Fi-
garo on 21 May 1830 contains any referencesto
the concluding events of the movement:21
A la fin, l'un des pdtres reprendle ranz de vaches;
l'autre ne rgpond plus .... Bruit eloigne de ton-
nerre.... solitude.... silence....
This description does occur in the two versions
of the programprinted in conjunction with the
first performance, the first appearingin the Re-
vue musicale on 27 November 1830. So the re-
turn of the movement's introduction as a coda
must have been addedbetween 21 May and late
November 1830.
In the four-movement version of early 1830
(where the slow movement probablypreceded
the Marche) the quiet ending of the Scene aux
champs in F major was followed by the quiet
but menacing introduction to the first part of
the Vision. While there was considerable con-
trast in other musical domains, dynamic con-
trast was lacking. When the Valse was inserted
between these two movements (in its original
position, as movt. IV),Berliozwent even further
20NBE16, ix; Memoirs,pp. 181, 224.
21Thedocumentation for these argumentsis found in NBE
16, versions 2, 3, and 4 of the program.
to insure a certain level of continuity between
the two movements: the new movement not
only begins quietly but also with a relatively
slow harmonic rhythm of chord changes every
two measures after the initial four-measure
-
I etc.
I9:$
##
. ,
A Ir~~~~li
C , ### .w
0t v
A Major:
This tonally oblique approach functions as a
transition from F major, the key of the slow
movement, to A major. Thus the music moved
gracefully from the tranquil repose of the Scene
aux champs (as yet without its coda)to the exu-
berant gaiety of the Valse. In composing Un Bal
Berlioz seems to have been at pains to insure a
sense of continuity that would retrospectively
span the articulating silence between it and the
preceding movement.
Subsequently, of course, the order of these
two movements was reversedand the Scene aux
champs was again followed by the Marche. But
precisely because the rearrangementof move-
ments has assured an underlying structural sta-
bility and at a deeper level a sense of separate-
ness, a sense of motion between as well as
within movements was essential, particularly
as the structure itself was so large. Berlioz was
apparently no longer content with the original
interface between the Scene au champs and the
Marche and by November had modified the end
of the slow movement. The revision, the return
of the introduction as a coda, at first sight seems
merely to add further structural stability to the
existing tonal and thematic repose of the move-
ment, but the additional passage in fact under-
mines the strong sense of closure achieved in
the passage leading up to the original ending
(which presumably occured at mm. 174-75 or
thereabout). The rhythmic and textural flow of
the music is completely disruptedand replaced
with isolated phrases for the English horn.
Moreoverthe return is heavily modified: one el-
ement from the introduction-the oboe's off-
stage answers-is omitted and replaced by the
group. Similarly the movement does not com- PAUL
BANKS
mence in its own key, A major,but with a rising Symphonie
chromatic progression which has as its starting fantastique
point an A-minor triad (iii of F major)and as its
second chord an F-majortriad (ex. 1):
w 4p
#
16w4 m
,
V
Example 1
highly disruptive timpani chords. Quite apart
from any specific programmatic significance,
these chords introduce an unexpected orches-
tral sonority which has been absent since the
first movement (except for the conventional
timpani figuration of mm. 106-08, 143, and
159-60 in the Scene aux champs) and threaten
the harmonic stability by emphasizing the
tonic minor ratherthan the tonic major.
Yet this passage has a further significance.
Having created instability at the end of the third
movement, it also establishes greater continu-
ity between the third and fourth movements by
introducing the minor mode and the sound of
the timpani as significant musical elements.
Both of them play prominent roles in the next
movement, but both are modified there: the key
is G minor, not F minor, and the timpani are
played with hard, not soft, sticks. It is once
again a matter of continuity and growth, of both
coherence and diversity.
Berlioz himself tells us that he rescored the
Valse in Florence in 1831 when the "present
coda" was added.22Only two fragments of the
earlier score survive, the original title page (see
above) and a fragment of the last page contain-
ing the original ending of the movement.23Ex-
actly how much was added during the revision
of the ending is a matter of debate. Accordingto
Temperley the addition began at m. 319, the ev-
idence being that at that point (which is the be-
ginning of a new page in the autograph,20v)the
22Memoirs, p. 181.
23Movt. I, fol. 18cv; first described and transcribed in Holo-
man Autographs, pp. 277ff.
41
 19TH previously neat layout with ruled barlines be-
CENTURY
MUSIC comes more hurried in execution with unruled
barlines. Temperley describes it as "a compos-
ing score, with a few corrections and revisions."
D. Kern Holoman, on the other hand, argues
that the newly-discovered collette suggests that
much less was added, namely mm. 334-64 and
that "the unruled barlines are insignificant:
[Berlioz]started the new section on ruled paper,
ran out, and did not take time to go back and
rule more lines."24
It seems clear from a number of indications25
that these last pages were not written underthe
same circumstances as the earlier pages, but in
any case further comment-about the time in-
terval involved, for example, or the reasons for
the changed circumstances-would be specula-
tive. The evidence providedby the autographof-
fers no conclusive indication about the extent
of the added coda. In either case the emenda-
tions may be viewed as features designed to
highlight the inter-movement links and proc-
esses that stem from the revision of the move-
ment order.
Even if Holoman is correct, the changes are
limited but significant. The fragment of the
original ending consists of approximately the
bottom left-hand cornerof a sheet of 24-staffpa-
per, which originally contained two systems of
orchestral score. What survives is the bottom
system-the last 21/2 measures of the move-
ment-together with the first two measures of
the cello and bass line in the uppersystem. Ho-
loman argues that a furthereight to twelve mea-
sures completed the uppersystem. Interestingly
the first measure of the uppersystem is similarto
m. 332 in the revised version (though note the
rhythmic differences),but the second measure
does not relate to the final version (ex. 2):
. , - i
a, -_--X4 - .
-.t+
i):""Ul _
Movt.II, originalending. Movt. II, mm. 332-33.
(F-Pc ms. 1188, movt. I, p. 18Cr)
It would appear,therefore,that the majoraltera-
tions commenced at m. 333, and are significant
in that the unexpected intrusion of an F-major
triad into the cadential process was a late addi-
tion.
This prominent harmonic featureis certainly
of intra-movement significance: it refers to the
tonicized triad in the central section of Un Bal.
In the revised movement orderit is also of inter-
movement significance, for it prefigures the
tonal center of the next movement. On a deeper
level the intrusion of Fl into the melodic struc-
ture of the movement and the F-majortriadinto
the harmonic processes establish more subtle
links, particularly with the first movement.26
The melodic juxtaposition of I VIand tVI (AS/4)
is a prominent feature of the idee fixe and in-
deed much of the first movement. It is taken up
again in Un Bal, most frequently in the melodic
progression E-F l(=E )-Ff, stated for the first
time right at the beginning of the movement
and present throughout the main theme. The
juxtaposition is projectedon a large scale in the
conflict between the Ft prominent in the main
theme and the Ft of the central statement of the
idee fixe. Harmonically the bass progressionV-
1VI of the interrupted cadence that initiates the
central section is prefiguredby the introduction
to the first movement (mm. 45-63). Such inter-
relationships are naturally more pertinent in
contiguously placed movements, and moreover
the eventual placing of two such obviously re-
lated movements at the beginning accordswell
with an overall design that seeks to incorporate
increasingly diverse material as the work pro-
gresses. The coda to Un Bal thus includes a final
reference to features and processes that link the
movement to both the first and third move-
ments, links that would have been far less pow-
erful in the original order.
---- u, , The coda of the first movement was one of
i-
the last sections to be revised. The movement
originally ended ff at what is now m. 493, and
the phrase "ses consolations religieuses,"

Example2
24Holoman Autographs, p. 279.
25Thenumber of measures per page varies from twelve to
six, and some pages show clearvariationsin measuresize. If
Berliozhadpreviouslyruledthe paper,he surelywould have
ruledboth sides of a sheet, i.e., both 20rand20v.ClearlyBer-
lioz was not using paperwith previouslyruledbarlines,but
was barringas he worked.Forsome reasonwhile writingthe
final five pages he ceased to rule the barlines.A comparison
of 20rand 20valso suggests that the latter was written using
a slightly thicker quill.
26Cone,pp. 261ff.

42
which clearly refers to the religiosamente that
now concludes the movement, appears in no
program before a version which is unfortu-
nately undated, but which almost certainly was
preparedfor inclusion with the first publication
of the work.27This was Liszt's piano transcrip-
tion, 1834, which contains the new conclusion
to the first movement. The passage, then, was
probably added at the time of Liszt's transcrip-
tion, and certainly after 1832.
Originally the movement ended convention-
ally: with a loud and assertive close. The con-
trast between it and the opening of the slow
movement was also traditional enough, but the
revised movement orderingaddeda new factor.
The new second movement began with a pas-
sage that was originally designed as an inter-
movement transition from the end of the Scene
aux champs to the beginning of the Valse proper
but one that was hardly needed in the move-
ment's new position. Moreover, the carefully
placed F-majortriad in the passage-originally
both forward-and backward-looking-now has
a curtailed significance, merely anticipating the
tonicized triad of the central episode of Un Bal.
A solution might have been to recognize the
redundancyof the introduction to the Valse and
replace it. But Berlioz chose the alternative, to
modify the end of the first movement. This sug-
gests that the introduction contained some ele-
ment important enough to be retained, a suppo-
sition supported by the nature of the added
material. As in the revised ending to the Scene
aux champs, the sense of closure and continuity
are undermined. The additional passage dis-
rupts continuity and is explicitly recessive in
matters of texture, rhythm, dynamics, and
tempo; the resulting release of tension assures a
27NBE 16, p. 167, version 8.
smooth transition between the first two move- PAUL
BANKS
ments. But particularly fascinating is the new Symphonie
plagal cadence, introducing the F-majorchord. fantastique
The gradual diminuendo in the structural im-
portance of the idee fixe is partly counter-
pointed by the crescendo in structural sig-
nificance of the F-majortriad. It plays no more
than a conventional role in the harmony of the
opening movement except at the end, where it
is prominent in the concluding prolongation of
the tonic. By alternating IV and iv chords, this
passage also makes a last reference to the 1VI/
VI (Al/At ) relationship that will be taken up in
the Valse. In Un Bal the triad is prolonged to
form the tonal basis of the contrasting section;
in the Scene aux champs the prolongation is
taken one stage further, and the chord becomes
the tonic for the whole movement.
Berlioz admitted that the Symphonie fantas-
tique had "serious defects which ... it took me
several years of the most diligent labor to ex-
punge."28In view of the complex interaction of
processes embodied by the work his remark is
hardly surprising.The crucial event was the de-
cision to reverse the order of the Scene aux
champs and Un Bal: the changes to the ending
of the Scene, the Valse, and the first movement
are responses to that structural alteration. But
just as the change in order resulted in a more
stable distribution of musical substance and
balance of duration, the subsequent changes all
contributed to processes of growth, change, and
evolution superimposed on that underlying sta-
bility. On a deeper level the final version of the
work embodies a subtle interplay between the
individuality and discreteness of its move-
ments and processes that allude
to underlying coherence. :;'
28Memoirs, p. 167.
43