English Commentary by Sergio Cánovas 

Berlioz’s Symphonie Fantastique was written between January and April 1830. It was premiered in Paris on December 5 of that year, performed by the Orchestra of the Paris Conservatoire conducted by Berlioz, having a very divided reception. Berlioz made several revisions, not publishing it until 1845. It is a revolutionary symphony, the most important written since the death of Beethoven in 1827. A work with which Berlioz broke all the traditional schemes of the symphonic form.

The work is programmatic in nature. The origin of which goes back to the passion Berlioz felt for the 27-year-old English actress, Harriet Smithson, who in 1827 had performed Shakespeare plays in Paris, fascinating the composer. He became obsessed, attempting to reach her attention several times, but without success. It wasn’t until 1832 that she attended a concert in which the work was performed, realizing Berlioz’s passion towards her. The two finally met and were married on 3 October 1833. However, their marriage deteriorated and they separated. Despite this, Berlioz always regarded her as his greatest inspiration.

The first movement is written very freely, only slightly resembling sonata form. It begins with a long and substantial introduction, which opens with a melancholic tune the composer wrote when he was a teenager to an unrequited love. Then the music alternates between melancholic and feverishly passionate passages, representing the artist’s emotional swifts from passion to melancholy. The main allegro begins with a charming main theme on strings and flute, its the «ideé fixe», which represents the actress as the artist’s obsession. It is feverishly answered by orchestral outbursts, representing the artists passion. A more rhythmic second theme is then presented by strings with a certain grace.

The following development section is intense, with the idée fixe on violas, cellos and double basses in a torturous manner. The second theme briefly reappears, followed by fast chromatic scales of strings until the orchestra suddenly stops. The «ideé fixe» reappears on woodwinds, beginning a reexposition that culminates in an expressive climax. The second theme is then subjected to a brief fugato, before the «ideé fixe» reappears on the oboe in a melancholic variation. The theme passes to several instruments, the music growing towards a massive, frenzy climax on the «ideé fixe». After a reminiscence on said theme, another climax ensues. The doubts of the artist reappear, after which the main theme leads us to a calm, religious coda in which the artist finds solace.

The second movement is a waltz in form of a rondo (A-B-C-A’-B’-C’-Coda), representing the artist in a ball. After a dreamy opening, with scales of the harps, an elegant waltz theme is presented by the orchestra. It is contrasted by a more dynamic second theme. In the middle section, suddenly the «ideé fixe» reappears on the wood, representing the artist’s beloved appearing on the ball. It is soon in counterpoint with the waltz theme, as the artist follows her. The waltz is then resumed with a colourful orchestration. Suddenly, the music accelerates, as the artist pursues his beloved in the crowds. The «ideé fixe» briefly appears on the clarinet, before a crescendo leads us to a forceful coda.

The third movement is a very freely written adagio, representing the artist in the middle of the countryside. It begins with a pastoral duo between English horn and oboe, representing alpenhorns Berlioz heard from shepherds near the Alps. Then the first violins and the flute present an idyllic main theme, taken from the «gratias» of Berlioz’s Messe Solennelle. It is developed in form of variations, before more rhythmic second theme is introduced. However, the «ideé fixe» melancholically reappears, the artist’s beloved and his endless obsession.

The woods begin to imitate birdsongs along the recapitulation of the main theme on cellos. In the central section, the artist’s anger is unleashed through tremolos and bass phrases, seeming to catch his beloved with another person. The «ideé fixe» is also present, alternating between these choleric episodes. The music culminates in an intense climax of great furiousness, after which it gradually calms down. The main theme is recapitulated in a varied manner on the clarinet over pizzicati.

Follows a radiant variation that rises in a climax. The «ideé fixe» reappears calmly on the flute, and after a couple of stormy presentiments, the music becomes calm and bucolic. English horn repeats the shepherds melody of the beginning, without being answered. Instead, blows from four timpani represent distant thunders of an approaching storm. A serene coda ends the movement.

The fourth movement is a tragic march built on two themes, using material from the unrealised opera «Les francs-juges». The artist, at this point, knows that his beloved has betrayed him. He feels cheated, overdosing with opium and producing a strange, surreal dream. It opens with a sombre introduction, followed by the presentation of a lugubrious march on cellos and basses. The artist dreams that he has killed his beloved, that he is condemned, led to the scaffold. A brilliant second march theme then appears triumphally. These two marches alternate each other as the scaffold is moving towards the execution place. The music reaches a thunderous climax, referencing the tritone or «diabolus in musica». Before the decapitation of the artist, he briefly remembers his beloved through the «ideé fixe». His head is cut off and falls down, as the movement ends with a jubilant fanfare.

The fifth movement is complex in form, divided in several sections. In it, the artist sees himself at a witches’ sabbath, in the midst of a hideous gathering of shades, sorcerers and monsters. It begins with a dark, slow introduction with effects that evoke a demonic underworld. Suddenly, the «ideé fixe» appears on the clarinet but as a vulgar dance tune, followed by an explosive climax. The «ideé fixe» is then transformed into a grotesque main theme, as the artist’s beloved begins a dance with the witches and monsters. The music becomes wild as the dance degenerates in an orgy.

The music suddenly swifts to the bass registers, with blows of the bell appearing in the dark atmosphere. It represents the funeral of the artist, as he was executed in the previous movement. Several attempts are made to begin witches’ round dance, but they are cut-off. The Dies Irae theme (a melody associated with death and divine judgement) appears on tuba and bassoons. All this material is gradually transformed in a sardonic manner. Then the witches’ round dance arrives in a massive climax, which consist of a syncopated dance unfolded through a four-voice fugue. It is followed by a series of chromatic and dynamic forte-piano contrasts.

The music again swifts to the lower registers, as the dance gives way to the dies irae theme. However, deformed entries lead us again to the witches’ round dance through a crescendo. After a new climax, the dance continues with the dies irae on the brass in counterpoint, all like a grand danse macabre. The strings perform col legno for a while, representing skeletons that dance as well. An infernal climax (in which the tritone is referenced as well), is followed by the dies irae on the brass, which lead us to a triumphal coda in a brilliant C major.