Essay on Musical Style in Performance
Introduction
The Roman Carnival Overture as composed in 1843 by Hector Berlioz and has since be considered a brilliant and vivacious work even in the present days. While listening to the performance, I realized that the Roman Carnival Overture has borrowed melodies from the famous Benvenuto Cellini. The solo English horn introduces a slow theme that is founded on the Benvenuto’s aria O Teresa, Vous Que j’aime meaning “O Teresa, Whom I adore” which was composed originally by La Mort de Cleopatre Berlioz (Berlioz & Safranek, 1942).
Type and Genre of Music
The learner listened to Hector Berlios’z piece, the Roman Carnival Overture which is often considered a tricky piece of music for most players. This piece that is classified under the classic genre is an orchestra that contains a group of musicians with various instruments that can be classified in the violin family.
In his work, Berlioz often set high standards for orchestral togetherness and exceptional solo brilliance that most orchestras of the modern-day have not managed to achieve. I observed that the orchestra was led by a conductor, Michael Tilson Thomas, who directed the performance with his hands and arms movements. The success of the concert was facilitated by the conductor’s ability to unify the orchestra by setting the tempo and shaping the sound of the group.
Although Hector’s work has managed to merge with modern music, period-instrument performances are rare and are considered quite conservative. The account of the exciting Roman Carnival Overture is considered serious but in a positive manner. However, the instruments used introduced an exciting phenomenon in the event.
Style Period
The title of this song is Roman Carnival Overture, Op. 9 which was performed by a Symphony Orchestra and was written by Hector Berliozcan be classified under classic style period due to its aspect of music with ease. Just like Beethoven work, this piece entails the development of the symphony, sonata-allegro, and orchestra, all of which are meant to heighten the significance of the instrumental music. This piece also fits in this subdivision perfectly due to the fact that dynamic levels are increased, it has adopted a formal structure, and the use of ornamentation has been restricted.
Summary of the Features and Style of Period
The performance by the orchestra starts with a brief statement of the Saltarello after which a lyrical passage introduces a beautiful melody. Shortly after, descending and ascending woodwind signal the return of the Allegro vivace (Saltarello) which explodes with exuberating vigour (YouTube Symphony Orchestra, 2011). Towards the end, one can see the English horn melody accompanied by dance rhythm after which the saltarello returns to dominate the close of the Roman Carnival Overture
Musical Elements
Tempo
The tempo in the song was all over the place and starts as a crescendo after which it becomes a mezzo-forte allegro. It drips on a pianissimo largo and continues for a few steady beats after which it turns into a piano. More instruments join in making it a mezzo-piano adagio. However, the bigger part of it becomes a legato as the chorus comes in. Listening carefully, one can hear that some parts in the beginning and the end where the piece was accelerando although most of the middle part is ritardando. This aspect made it difficult to determine the meter since the piece of music was all over the place. In relation to the rhythm, it is easy to notice that most parts were repeated although there wasn’t any form of syncopation (Baumgartner, Esslen, & Jäncke, 2006). However, the melody was also conjunct predominantly and was quite tuneful. Although the melody was a bit dissonant at the beginning, most of it was consonant and the texture was mostly homophobic because many instruments were in play most of the time. However, there was a point in the start when the play was monophonic.
Dynamics
The orchestra applied the aspect of decrescendos and crescendos in the music as it increases and decreases from one dynamic level to another. However, the dynamic range does not achieve the extremes employed during the Romantic period which provides the conductor with greater to achieve the highest contrast with a particular group. From the performance, it is clear that the orchestra understood the importance of contrasting identical phases to highlight the aspect of dynamics (YouTube Symphony Orchestra, 2011). While the aim of the classic composer was to portray formal objectively, the romantic dynamism achieves individual freedom of expression.
Tone Color
The tone adopted in the overture is one that begins with violins in response in the flute, oboe, and the horns. Pauses and brilliant actions on the strings causes a shift of the melody to the violas and the horns. The piece of music was introduced in two sections which were preceded by an introductory flourish that is based on saltarello melody. The main theme showcased in the first section is the part presented by the solo English horn. However, this beautiful strain gets wrapped around Berlioz’s characteristics of the glowing flowy orchestral fabric. It is also important to take note of the shimmering gloss that was introduced to the sound by the triangle and tambourine. The strains and versions of the saltarello introduce the Overture into an exciting and rousing carnival dance. Additionally, the rowdy exuberance of the saltarello introduces various harmonic and rhythmic surprises to the audience.
Feelings and Emotions
The section of the concert that was in allegro put me in a rather thrilling mood. Additionally, the decrescendo part was also moving that it made me teary. Overall, the piece was pleasant to listen to and quite comforting. The best part of it is that the temp was vivace for the better part of the song. It introduced a dreamy aspect that caused me to figure a romantic relationship between two loves. In the beginning, it introduced thoughtfulness that reminded me of sad days in my past. Nevertheless, the piece was passionate and touching – the performers were also lively and involved in the performance, an aspect that caused the audience to smile the bigger part of the performance.
Conclusion
Listening to the Roman Carnival Overtures made me realize that although Berlioz is not often celebrated as much as Beethoven, he is one of the articulate and witty composers of classical music. Although this piece was designed as a special kind of stand-alone violin concert piece, the Roman Carnival Overture is among the few pieces that get the crowd off their thoughts to a place of imaginations. With increasing popularity, this piece is crowd-pleaser owing to its energetic vitality with an Italian touch and skilful presentation.
References
Baumgartner, T., Esslen, M., & Jäncke, L. (2006). From emotion perception to emotion experience: Emotions evoked by pictures and classical music. International Journal of Psychophysiology, 60(1), 34-43. https://doi.org/10.1016/j.ijpsycho.2005.04.007
Berlioz, H., & Safranek, V. F. (1942). Roman carnival overture: op. 9. Associated Music Publishers.
YouTube Symphony Orchestra 2011 (2011, March 24). Roman Carnival Overture – Hector Berlioz. Retrieved from https://www.youtube.com/watch?v=uYqItMmwwKE