English Commentary by Sergio Cánovas 

Berlioz’s «Grande Symphonie Fùnebre et Triomphale» was written between March and July 1840, being the fourth and last symphony of the composer. It was commissioned by the French government to celebrate the tenth anniversary of the revolution of 1830 in July of 1840. Berlioz took as a basis his «Fête musicale funèbre à la mémoire des hommes illustres de la France», a large-scale ceremonial piece dedicated to the memory of France’s great men, sketched in 1835 but left unfinished.

The symphony was premiered on July 28 of 1840, performed by a large military band of 200 musicians conducted by Berlioz. However, the premiere at the opening outdoors in the Place de la Bastille was a failure due to acoustic problems. Despite this, the work was an immense success in following indoor concerts. In January 1842 Berlioz revised the work, rescoring it for full orchestra and a choir in its final part. The symphony is very different compared with Berlioz’s previous ones, being more simple and popular style in a purely French conception, reminiscent of the revolutionary music of the past.

The first movement is a vast funeral march written in sonata form. It begins with a dark and melancholic main theme on woodwinds, supported by muffled side drums. It is contrasted by a more hopeful and brilliant second theme, leading us to a section that alternates serene passages with unexpected and dramatic clashes. A lyrical transition unfolds with solos of great beauty, followed by a dramatic development dominated by the main theme. The music rises in an expressive climax, before the recapitulation brings back the main material. A solemn coda ends the movement.

The second movement is divided in three sections. It opens with fateful orchestral chords interrupted by silences. A solo trombone begins a dialogue with the rest of the woodwinds, culminating in a hopeful cadence. Then begins an aria for the instrument, prayerful and expressive in character. This part was adapted from his unfinished opera «Les Francs-Juges». The trombone plays the solo vocal line, with the winds serving as both accompaniment and chorus, commenting on the oration. A peaceful transition leads us to the final part.

The third movement is structured in a rounded binary structure (A-A-B-A). It begins with side drum rolls, brilliant fanfares from the brass lead us to a triumphal march in B flat major. The entire movement is dramatic and suggestive of the stage, as is much of Berlioz’s best and most effective music. The B section combines aspects of development and contrast. Choirs are introduced with the words «Gloire! Gloire et triomphe à ces hèros!» (Glory!, glory and triumph to the heroes!), accompanied by the full orchestra with brilliant percussion. The music grows more and more ecstatic, culminating in a triumphal final climax.

Picture: «Scene of July 1830» or «The Flags» (1830) by the French painter Léon Cogniet.

Musical analysis partially written by myself. Sources: https://rb.gy/y8sv7 and https://rb.gy/r18sc To check the score: https://rb.gy/2ktaz