The Creative Instrumentation of Hector Berlioz
One of the most difficult aspects of performing classical repertoire is successfully achieving the composer’s intended performance with authenticity. While there are differing difficulty levels between pieces depending on the era they were made in, the discipline required to play pieces with instruments not in use anymore is clear. One of which is Hector Berlioz’ “Symphonie Fantastique”, a 4-movement orchestration telling the story of a man desperately in love with a woman, falling into a deep drug-induced state on confusion and turmoil. While this piece is known for being a unique step into a new direction in terms of telling stories with idée fixes, or repeating musical phrases, an interesting aspect of the piece is it’s use of unique brass instruments who have almost entirely disappeared in today’s modern orchestra. In an 1988 article from the New York Times, John Rockwell gives a review of one orchestra’s “period-instrument performances”, with one of which being Berlioz’s “Symphonie Fantastique”.
In this article, Rockwell focuses on the reasons behind why Roger Norrington’s orchestra gave such a spectacular. While he talks about Norrington’s well known performances including lectures, he continues to explain that they would be nothing without the “sheer impact of Berlioz heard on original instruments” in addition to Norrington’s “musicality and communicative passion,” (paragraph 4). By stating that the use of Berlioz’s unique original instrumentation is what allows for performances so grand, Rockwell gives credit back to Berlioz for his creation of a piece with a one of kind sound using instruments like the serpent and the “ophicleide”.
In other words, Rockwell acknowledges an aspect of Berlioz’s compositions that one might look over and shines a light on how his choices of instrumentation play a large part in how successful his pieces were then and now. Continuing on throughout the article, the author states that this piece played with original instrumentation allows for “a far more kaleidoscopic sound than the more fluent, powerful, Germanically homogenized norm today,” (Paragraph 6). This continues to elaborate on the uniqueness of Berlioz’s compositions but now compares it to today’s modern orchestra, inferring that the orchestra’s of Berlioz’s time allowed for a broader range of sounds.
What makes this even more interesting is Berlioz’s understanding of the instruments he was using and how they played a large part in achieving the dark stories told in his last movements. In a document from Kelly’s First Nights, Berlioz states that “one must allow an exception only for use of the serpent in masses of the dead”. This not only shows that he saw the instrument as almost eery and “barbaric”, but also that he saw it as an opportunity to accurately portray a “witches’ sabbath” in his 5th and final movement of “Symphonie Fantastique”. Going back to Rockwell’s article, it is stated that by performing this piece with unique instruments chosen by Berlioz, at least one audience member can “appreciate Berlioz’s originality and genius as never before,” (Paragraph 12).
After taking into account the impact that the correct original instrumentation of Berlioz’s “Symphonie Fantastique” has on a successful performance of the piece, I realized that without the unique instruments that are no longer heavily practiced in orchestras and professional settings, the piece loses the intensity and correct portrayal of heartbreak and pain that was originally heard in the premiere of the piece back in 1830. Because of this, I wonder if Berlioz would have been satisfied with using instruments such as the tuba instead of the serpent or the ophicleide. In addition, would he have been satisfied with the story told with modern orchestras when playing his piece? Yet, an interesting aspect of his genius choice of instruments is the impact it can have on future generations and the ability it might allow for the use of these rare instruments in today’s society. It is what I believe makes Hector Berlioz one of the most creative composers I know.
Sources:
“In London, a Weekend of Berlioz as Berlioz Heard It” by John Rockwell, March 1988
Picture of the Serpent Instrument; https://collection.maas.museum/object/143648
Kelly’s First Nights
