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There's a fair amount of counterpoint in Berlioz music

Posted by Chris from Lafayette (A) on February 24, 2021 at 19:17:15

In Reply to: Interesting comment about Berlioz counterpoint. I've enjoyed Berlioz for decades but haven't delved that deep posted by jdaniel@jps.net on February 24, 2021 at 16:07:59:

I have no idea who would have said that Berlioz was trying to avoid counterpoint - that's a statement just not borne out by the facts.

Aside from the Watches' Sabbath section of the Symphonie fantastique, there are some really striking examples: think of the very opening of Romeo and Juliette (Combats, tumulte. . . ) - I don't know of a more arresting section of music in fugal form! But that's not all - after the fugal entries at the beginning in the strings, he later brings in the brass with this splendid countermelody, while the rest of the orchestra continues with the original fugal subjects. (I get goosebumps just thinking about it!) Later in the same piece, there's a long section, "Romeo seul, tristesse. . . " which segues in to "Fete" which bursts with energy in such a striking way. (I'm getting goosebumps again just thinking about it!) But after awhile, Berlioz brings back the "Romeo seul" section and combines it with the brilliant "Fete" music for an even more overwhelming effect!

A more obscure example (but every bit as brilliant - maybe even more so!) occurs near the end of Act I of Berlioz' opera, "Benvenuto Cellini" (just before he brings in the "Roman Carnival" music at the end). There's a big fanfare, and then the baritone sings a short aria-like section. The fanfare returns, and then the soprano sings a different aria section. The fanfare returns a third time, after which we hear a little duet between a different soprano and a tenor (with the soprano imitating the short little musical figures which the tenor sings initially). The fanfare returns a fourth time - now extended and more grandiose than ever. And what do we hear now? We hear ALL THREE of the previous sections sung together in counterpoint! This is music of which you have NO IDEA that it could have been combined in this way to this kind of stunning effect. What a genius! And then he follows this with the Roman Carnival music (as heard in the famous overture he extracted) - but it's also got choral parts now! I'm speechless at this kind of genius and imagination!

Of course, there's other counterpoint in Berlioz' music - more where you would expect it, in the Requiem and the Te Deum. But if you're on the lookout for counterpoint in Berlioz' music, you will definitely hear it!

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Kimber Kable

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