Again the details one can learn from a real concert (regardless how well the performance was) is unmatchable. A master piece for orchestration study no matter how many times I have gone over the score before.
Just a short note of this piece.
The oboe in the opening of mvt. III that echoing the Cor Anglais, of course this example is used over and over again for defenestrating off stage orchestration. It only proves how effective this setting is. Not only the use of off stage instruments but choosing Cor Anglais and Oboe also reflects the composer's thought of a precise sound image. Why not any other woodwinds?
The off stage Church bells in mvt. V with soli Grande pédale indication C-c-a" from rehearsal number I. Pay attention of the spacing of the chord.
The use of three timpanists simultaneously (and only) towards the end of mvt. III accompany the Cor Anglais solo from rehearsal number U.
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| Music except from H. Berlioz's Symphonie Fantastique |
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