Roméo et Juliette (symphony) Totally Explained

Everything about Rom O Et Juliette Symphony totally explained

Roméo et Juliette is a "symphonie dramatique", a large scale choral symphony by French composer Hector Berlioz. The libretto was written by Emile Deschamps and the completed work was assigned the catalogue numbers Op.17 and H.79. It is based on Shakespeare's play Romeo and Juliet; it's regarded as one of Berlioz's finest works, and it's certainly among the most original in form. The score is Berlioz's most comprehensive and detailed programmatic piece.

Composition

Genesis

Initial inspiration came from a performance he witnessed in 1827 of Romeo and Juliet (in David Garrick's edited version) at the Odéon Theatre in Paris. The cast included Harriet Smithson, who also inspired Berlioz's Symphonie Fantastique. In his Memoirs, Berlioz describes the electrifying effect of the drama:
Romeo and Juliet for a long time before 1838, but other projects intervened. Emile Deschamps (the librettist of the work) says that he and Berlioz worked out a plan for the symphony shortly after the Odéon's 1827-28 season. Indeed, it may be the case that Roméo et Juliette's genesis is intertwined with other works composed before the composer left for his Prix de Rome sojourn of 1830-32. Sardanapale, the cantata with which Berlioz finally won the Prix de Rome in 1830, includes the melodic material of both the Roméo seul ("Romeo alone") portion of the second movement and the Grande fête chez Capulet ("Great banquet at the Capulets").
There is abundant evidence that Berlioz was gradually working out a scheme for Roméo et Juliette during his sojourn in Italy. He reviewed a February 1831 performance in Florence of Bellini's I Capuleti e i Montecchi, outlining in passing how he'd compose music for the Roméo et Juliette story: it would feature, he says, the swordfight, a concert of love, Mercutio's piquant buffooning, the terrible catastrophe, and the solemn oath of the two rival families. One line of text from the review eventually shows up in the libretto of the symphony.

Realisation

The eventual composition of Roméo et Juliette as we know it now was made possible by the generous gift of 20,000 francs by Paganini after, upon hearing a performance of Harold en Italie, the great virtuoso had publicly knelt before Berlioz after a concert at the Paris Conservatoire on 16 December 1838 and hailed him as the heir of Beethoven. Sadly, Paganini died shortly after, and didn't read or hear the piece. Berlioz used the money primarily to repay his debts, and afterwards was still left with "a handsome sum of money", which he used to allow himself to put his full focus towards working on "a really important work", unobstructed by his usual time-consuming obligations as a critic. Berlioz finished the score on September 8, 1839.
The work's libretto isn't sourced from the original plays, and as a result contains inaccuracies, both in the version Berlioz worked from, and subsequent cuts he and his librettist made. Berlioz's composition was heavily influenced by the play he'd seen acted by Charles Kemble and Harriet Smithson in 1827, which had been rewritten by the 18th century actor David Garrick to have Juliet awaken from her death-like sleep before Romeo’s death from (a much slower acting) poison. Berlioz enlisted the services of author Emile Deschamps to write the libretto. Between them they also left out the character of the nurse and expanded Shakespeare's brief mention of the two families' reconciliation into a substantial vocal finale.
In many respects Roméo et Juliette is the most autobiographical of Berlioz's works, and over his career he developed a special predilection for it. One movement, in particular, became a favorite: "If you now (1858) ask me which of my pieces I prefer, my answer will be that I share the view of most artists: I prefer the Adagio (Scène d'amour (Love scene)) in Roméo et Juliette."

Performance

From composition until the first performance, Berlioz's time was occupied with physical arrangements for the premiere: parts were copied, chorus parts lithographed, and rehearsals got underway. The bass-baritone, Adophe-Louis Alizard (Friar Lawrence), and the Prologue chorus, all of whom came from the Paris Opéra, were prepared during the intermissions of performances there. There was much anticipation in Paris prior to the first performance. In the rehearsals, Berlioz pioneered the practice of orchestral sectionals, rehearsing the different sections of the orchestra separately to better prepare them for the challenging piece. This was followed by two full orchestra rehearsals to polish up the details.
   It was first performed in three concerts conducted by Berlioz at the Paris Conservatoire with an orchestra of 200 on 24 November, 1 December and 15 December 1839, before capacity audiences that comprised much of the Parisian intelligentsia. Another notable audience member was Richard Wagner. Reactions to the piece were quite varied, as could be expected for a radical work. However, it was widely acknowledged that Berlioz had scored a major triumph in these first performances; a "tour de force such as only my system of sectional rehearsals could have achieved". Berlioz comments "The score ... on all three occasions ... seemed to score a genuine success. But I immediately felt that many parts needed revising". He continued to revise the work, a few instances upon the suggestions of critics, but generally by his own judgement.
   A premiere of a later revision (including cuts and changes to the Prologue, Queen Mab Scherzo, and the Finale) was held in Vienna on 2 January 1846, the first performance since 1839 and the first abroad. After hearing a complete performance in Vienna on 26 January 1846, Berlioz took the opportunity to make major revisions before a performance scheduled for the following April in Prague. He accepted advice from several confidants and advisers, rewriting the coda of the Queen Mab Scherzo, shortening Friar Laurence's narrative at the end, deleting a lengthy second Prologue at the beginning of the second half, and introducing musical foreshadowing in the first prologue. The full score wasn't published until 1847.
   Reflecting on the first performances, Berlioz commented in his Memoirs:
Music Structurally and musically, Roméo et Juliette is most indebted to Beethoven's 9th symphony - not just due to the use of soloists and choir, but in factors such as the weight of the vocal contribution being in the finale, and also in aspects of the orchestration such as the theme of the trombone recitative at the Introduction. The roles of Roméo and Juliette are represented by the orchestra, and the narrative aspects by the voices. Berlioz's reasoning follows:

The vocal forces are used sparingly throughout, until they're fully deployed in the finale. The exceptional virtuosity deployed in the orchestral writing seems particularly appropriate for the dedicatee of the work, Paganini himself, who was never able to hear it, much to Berlioz's regret. Further examples of Berlioz's inventiveness are shown in the use of thematic links throughout the piece, somewhat laying the ground for the Wagnerian leitmotif, for example the last solo notes of the oboe which follow Juliet's suicide echo a phrase from the earlier funeral procession when she was thought to be dead. Berlioz signed and dated his autograph on 8 September 1839. The final score was dedicated to Paganini.
   The stylistic links of the work with Beethoven before (and Wagner after) couldn't be stronger. From Beethoven, Berlioz learned the very notion of programmatic music. He saw in the Pastoral symphony how music might be depictive without being naïve, in the symphonic scherzi how the delicate Queen Mab might best be evoked, and in the 9th symphony how effective a choral finale could be. He sensed Beethoven's flexibility with regard to number of movements and the performing force.

Influence

From Roméo et Juliette Wagner absorbed so much about the ideals of dramatic music that the work can be considered a major influence on Tristan und Isolde. When Wagner first heard the work in 1839 he said it made him feel like a schoolboy at Berlioz's side. And Roméo et Juliette was the one of Berlioz's works he knew best. Indeed, their second and last meeting was on the occasion of a performance of the work in London in 1855. Wagner learned something of melodic flexibility and perhaps even a mastery of the orchestral force from Berlioz. He may have absorbed more specific features: the close relationship of the first few bars of the Tristan Prelude to the opening of the second movement of Romeo and Juliet can't be denied. Moreover, in 1860, he sent Berlioz the published full score of Tristan und Isolde inscribed merely:
Beyond the influence on Wagner's music drama, the piece pushed the limits of the contemporary orchestra's capabilities, in terms of colour, programmatic scope and individual virtuosity. While this applies to much of Berlioz's music, it's even more true for Roméo et Juliette, written at the height of his powers and ambition. Its vivid scene-setting surpasses many operas, which constitutes an enormous success on Berlioz's part. Franz Liszt also recognised the significance of Berlioz as a progressive composer, and championed his music.

Structure

Part I 1. Introduction: Combats (Combat) - Tumulte (Tumult) - � Intervention du prince (Intervention of the prince) -

   Prologue - Strophes - Scherzetto Part II 2. Roméo seul (Romeo alone) - Tristresse (Sadness) - � Bruits lointains de concert et de bal (Distant sounds from the concert and the ball) -

   Grande fête chez Capulet (Great banquet at the Capulets) 3. Scène d'amour (Love scene) - Nuit serène (Serene night) - � Le jardin de Capulet silencieux et déserte (The Capulets' garden silent and deserted) -

   Les jeunes Capulets sortant de la fête en chantant des réminiscences de la musique du bal - � (The young Capulets leaving the banquet singing snatches of music from the ball)

4. Scherzo: La reine Mab, reine des songes (Queen Mab Scherzo) Part III 5. Convoi funèbre de Juliette (Funeral cortège for the young Juliet): "Jetez des fleurs pour la vierge expirée" 6. Roméo au tombeau des Capulets (Romeo at the tomb of the Capulets) - � Invocation: Réveil de Juliette (Juliet awakes) - Joie délirante, désespoir (Delirious joy, despair) -

   Dernières angoisses et mort des deux amants (Last throes and death of the two lovers) 7. Finale: � La foule accourt au cimetière (The crowd rushes to the graveyard) -

   Des Capulets et des Montagus (Fight between the Capulets and Montagues) - � Récitatif et Air du Père Laurence (Friar Lawrence's recitative and aria) Aria: "Pauvres enfants que je pleure" -

   Serment de réconciliation (Oath of reconciliation) Oath: "Jurez donc par l'auguste symbole"

Bibliography

Berlioz: Roméo et Juliette: Julian Rushton, 129pp, Cambridge University Press, 26 August 1994. ISBN-10: 0521377676, ISBN-13: 978-0521377676
Berlioz's Semi-Operas: Roméo et Juliette and La Damnation de Faust: Daniel Albright, 204pp, University of Rochester Press, September 2001. ISBN-10: 1580460941, ISBN-13: 978-1580460941

Discography

Complete

Roméo et Juliette; Nuits d'été: Janet Baker, Jessye Norman. John Barbirolli & Riccardo Muti cond., Philadelphia Orchestra, New Philharmonia Orchestra. 2 CDs, DDD, EMI Classics, 11 August 1998. ASIN: B000009OQO

Roméo et Juliette; Les Nuits d'été: Denis Sedov, Melanie Diener, Kenneth Tarver. Pierre Boulez cond., Cleveland Orchestra. 2 CDs, DDD, Deutsche Grammophon, 14 October 2003. ASIN: B00008NR4P

Roméo et Juliette; Symphonie Fantastique: Andre Turp. Pierre Monteux & René Leibowitz cond., London Symphony Orchestra, Wiener Staatsopernorchester. 2 CDs, ADD, Deutsche Grammophon (originally Westminster), 23 November 2001. ASIN: B00005RIH4

Roméo et Juliette: Robbin, Fouchecourt, Cachemaille. John Eliot Gardiner cond., Orchestre Révolutionnaire et Romantique, Monteverdi Choir. 2 CDs, DDD, Philips/PolyGram, 14 April 1998. ASIN: B0000069CM

Roméo et Juliette: Daniela Barcellona, Orlin Anastassov, Kenneth Tarver. Colin Davis cond., London Symphony Orchestra. 2 CDs, DDD, LSO Live, 1 January 2000. Cat. no: LSO0003, UPC: 822231100324, ASIN: B00004XR87

Roméo et Juliette; Bizet - Carmen & L'Arlésienne Suites: Nicola Moscona, Gladys Swarthout. Arturo Toscanini cond., NBC Symphony Orchestra. 2 CDs, ADD, RCA Records. ASIN: B000003EX4

Roméo et Juliette: Olga Borodina, Thomas Moser, Alastair Miles. Colin Davis cond., Wiener Philharmoniker, Bavarian Radio Chorus. 2 CDs, DDD, Philips, 1 September 1996. ASIN: B00000418S

Roméo et Juliette; Symphonie Fantastique: Rosalind Elias. Charles Münch cond., Boston Symphony Orchestra, New England Conservatory Chorus. 2 CDs, RCA Records, 20 May 2003. ASIN: B000024HIJ

Excerpts

Roméo et Juliette; Le Troyens à Carthage: Frank Almond & Yoav Talmi cond., San Diego Symphony Orchestra, San Diego Master Chorale. CD, DDD, Naxos, 22 August 1995. Cat. no: 8.553195, Barcode: 0730099419529, ASIN: B000001460

Roméo et Juliette; L'enfance du Christ: Victoria de los Ángeles, Nicolai Gedda. André Cluytens & Carlo Maria Giulini cond., Chicago Symphony Orchestra, Orchestre de la Société des Concerts du Conservatoire. 2 CDs, ADD, EMI Classics/Angel, 19 November 1996. ASIN: B000002SCH

Roméo et Juliette; Requiem; Mort de Cléopâtre: Jennie Tourel, Stuart Burrows. Leonard Bernstein cond., New York Philharmonic, Orchestre National d'Ile de France, Orchestre Philharmonique de Radio France. 2 CDs, ADD, Sony, 28 July 1992. ASIN: B0000027LZ

Roméo et Juliette; Symphonie Fantastique: Charles Munch cond., Orchestre National et Choeurs de la RTF. 2 CDs, Cascavelle, 26 April 2007. ASIN: B000P2A4YU (more information needed)

Roméo et Juliette; Symphonie Fantastique: André Cluytens, Orchestre National de la Radiodiffusion, Française Orchestre du Théâtre National de l'Opéra. CD, Testament, 25 February 2002. Cat. no: SBT1234 , ASIN: B000060K9F

DVD

Roméo et Juliette: Hanna Schwarz, Philip Langridge, Peter Meven. Colin Davis cond., Bavarian Radio Symphony Orchestra. DVD, Arthaus Musik, 1h42m, 21 March 2006. Cat. no: 102017, Barcode: 807280201796, ASIN: B000E5LHLMFurther Information

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