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Home , Aeneid, Dido and Aeneas, Les Troyens, Pallas (son of Evander)

Vergil's Influence on Berlioz's Modern Life in Ancient Times as Portrayed through Music

Amanda S. Clark

A thesis written in fulfillment of the requirements for the degree of Bachelors of Arts of Music

in the

Department of Music of the University of Mary Washington

Advised by: Dr. Mark Snyder and Dr. Theresa Steward

April 15, 2017 Clark 1

Introduction

Louis- Berlioz and Publius Vergilius Maro (Vergil) are two of the most influential writers of their time. Berlioz and Vergil have many similarities, both in life and in compositions. Vergil’s influence on Berlioz’s works is strongly comparable between Berlioz's

Les Troyens and Vergil's , in which Les Troyens is directly influenced in structure, language, and rhythm.

Berlioz is a well-known French composer, critic, and conductor from the 1800s, known as the Romantic era. He composed a wide variety of music, and he is known greatly for

Symphonie Fantastique, Roméo et Juliette, and .1 Les Troyens is one of his most famous operatic works. In contrast, Vergil was a well-known between 70-19 BCE, known as the Augustan era. He is mainly recognized for his Bucolics and his . His

Aeneid is his most notable work. Vergil wrote the Aeneid during a period of major political and social change in , when the Republic had fallen and had established an Empire that he eventually went on to rule. Both Berlioz's and Vergil's writing styles are similar for their most famous works because both works were constructed little by little and out of order.

About the Works and Similarities in Life

Les Troyens is Berlioz's third dramatic work and one of his last compositions. Because of being pressed for finances, both the music and the for Les Troyens were written in a little less than two years, from May 1856 to April 1858.2 While he was writing the composition, “music was pouring out of him for several scenes at one time, out of sequence, while he steadily furbished up the lines, withdrawing foolish concessions to current taste and nourishing himself on Vergil…”3 The consists of five acts, and it is based off of books Clark 2

I, II, and IV of Vergil's Aeneid.4 Because Les Troyens ends after 's suicide, it would be unnecessary to compare Berlioz's work to any books past Book IV of the Aeneid.

The Aeneid is Vergil's famous epic and his last work. Vergil worked on the Aeneid for eleven years, but it was not finished completely at the time of his death. Vergil “first drafted

[the Aeneid] in prose and divided it into twelve books, deciding to construct it bit by bit, so that he could do each part as it seized his fancy, taking up nothing in order. Lest anything should impede his momentum, he would let certain things pass unfinished; others he propped up, as it were, with lightweight verses, joking that they were placed there as struts, to hold up the edifice until the solid columns arrived.”5

After Berlioz finished the opera, he attempted to have it performed. However, it was rejected by the Opéra in 1862. Because of the rejection of Berlioz's Les Troyens and the fear that no one would ever hear it, Berlioz decided to divide Les Troyens into two parts and make a piano reduction of the score. After the rejection from the Opéra and the dividing of Les Troyens, the opera, in its entirely, was not performed until 30 years after Berlioz’s death. By dividing the opera into two parts, the structure becomes similar to the Aeneid, where it is made up of two separate but interlocking parts. The Aeneid itself is based upon 's and . In fact, the first line of the Aeneid refers to both epics; Arma virumque cano.../ I sing of arms and of a man...6

Because Berlioz's Les Troyens’ structure is based off of the Aeneid, Acts I and II of the opera comprise “La prise de Troie,” and Acts III, IV, and V make up “Les Troyens à .”7 Only

“Les Troyens à Carthage” was performed in the Théâtre Lyrique, a smaller opera theater in ,

France.8 The Aeneid was never finished, and it is uncertain whether there was editing done to it Clark 3 after Vergil's death or not. Before Vergil died, he demanded that the poem be burned because he was not satisfied with it, but now the Aeneid is used all over the world as a literary staple. The

Aeneid was kept alive once it was published because it gave readers the and political history. Politically, it gave both praise and a critique of the new emperor in a discrete manner. The Aeneid provides literature history because it pays respect to and challenges classical

Greek literature and mythology by putting a Roman-like finish on the classics. Vergil was never able to see the great impact of his epic. Likewise, Berlioz was never able to see the first whole performance of Les Troyens and was never able to see the impact that it had on the audience.

Berlioz, as a composer, faced similar challenges as Vergil, a poet. They both had to adapt their text to either music or meter in a way that was pleasing and appealing to their audience.

Berlioz's Les Troyens is not just a literary of the Aeneid; it is a musical translation.

In Les Troyens, parts of the texts from Acts I, II, IV, and V are directly taken from the

Aeneid. Not only are the words affected, but parts of the music mimic dactylic .

Dactylic hexameter is the rhythmic scheme that is traditionally used in classical epic , such as Homer’s Iliad and Odyssey, ’s , and the Aeneid. The meter consists of lines made up of six poetic feet. Each dactylic foot is made up by one long vowel and two short vowels, | – U U |. However, vowels can be long by nature or by position, and this can result in a spondaic foot, where the two short vowels are replaced by one long vowel, | – – |. Four of the six feet behave in this manner. The fifth foot is usually dactylic, but rarely, it can be found to be spondaic. The sixth foot is different. The last vowel in the line can either be long or short. This vowel is called an anceps. If the vowel is long, the last foot would be spondaic, but if the last vowel is short, it is called a trochee because there is only one short vowel instead of two, like there is in a . Clark 4

Unusual Roles of Women

The Aeneid is an unusual poem for classical antiquity because of the way the female characters are presented the epic. Vergil portrays females in a way that seems to challenge traditional gender roles in Roman society because characters are both foreign and female.

Most of the Roman literature was based on men and politics. Females were viewed as housewives, not leaders. Berlioz follows this example by using female characters to dominate the two halves of the opera: dominates “La prise de Troie,” and Dido dominates

“Les Troyens à Carthage.” “[] links the two parts, but the second heroine remains after

Aeneas’ flight, concluding the epic in an individual tragedy that matches the collective tragedy of ’s downfall.”9 The character of Dido presents a challenge to the normal gender roles because of her scheming nature and her attempts to control a marriage that did not follow the usual Roman traditions. Berlioz depicts the scene in the Aeneid, where the manipulation takes place, in a musical interlude at the end of Act III. , queen of the gods, has a grudge against Aeneas, and she sees Dido’s love as a way to keep Aeneas from finding new land for Troy. Juno sets up a storm for the two leaders to be driven to a cave, where the marriage takes place. Even though the marriage was not carried out following the usual traditions, Dido still views it as a conventional marriage and tries to keep Aeneas from leaving. If Aeneas would not leave, her army would grow stronger with his men, and she would be able to have Aeneas forever in matrimony.

Les Troyens and Aeneid

Act I of Les Troyens is based upon lines 13-249 of Book II in the Aeneid. In this scene, the Trojans believe that the left after leaving a large wooden horse outside the gates of Clark 5

Troy as a gift offering to . Laocoön, the Trojan priest, was skeptical and hurled a spear at the horse. Then, two serpents came out of the sea and wrapped around Laocoön’s two sons, and when Laocoön tried to save them, the serpents killed him too. The Trojans thought of this as Athena’s punishment for harming the wooden horse. Despite the warnings of Laocoön, the Trojans brought the horse into the city.

Even though this scene is in both works, it is written differently between Berlioz and

Vergil. Vergil wrote this scene as a recall from Aeneas’ experiences and has Aeneas tell it as a storyteller to Dido. Berlioz, however, uses Aeneas and Cassandra to tell the story to the audience. Berlioz also uses this scene as an opportunity to tell and to remind the audience of

Cassandra’s curse by having her tell her lover, Corebus, that the wooden horse was a trick, and he did not believe her. This is because Cassandra was given the gift of prophesy by

Apollo, but when Cassandra refused ’s advances, he spat into her mouth, making it so that no one would believe her prophecies.

Act II of Les Troyens is an interesting act. In scene I of Act II, Aeneas is awakened by the ghost of Hector, Cassandra's brother. Then, Hector tells Aeneas that he is to leave and escape from the city of Troy to find a new city of Troy.10 This scene is based on Book II: 250-

297, in which the speech of Aeneas and Hector is directly taken from lines 281- 295. Aeneas speaks from lines 281- 286, and Hector speaks from lines 289-295.

ÉNÉE: Ô lumière de Troie!... Ô gloire des Troyens! Après tant de labeurs de tes concitoyens, De quels bords inconnus reviens-tu? Quel nuage Semble voiler tes yeux sereins? Hector, quelles douleurs ont flétri ton visage?

Aeneas: 'O lux Dardaniae, O fidissima Teucrum, quae tantae tenuere morae? Clark 6

Quibus Hector ab oris exspectate venis? Ut te post multa tuorum funera, post varios hominumque urbisque labores defessi aspicimus! Quae causa indigna serenos foedavit vultus? Aut cur haec vulnera cerno?' 11

L’OMBRE D’HECTOR: Ah!... fuis, fils de Vénus! l’ennemi tient nos murs! De son faîte élevé Troie entière s’écroule! Un ouragan de flammes roule Des temples aux palais ses tourbillons impurs... Nous eussions fait assez pour sauver la patrie Sans l’arrêt du destin. Pergame te confie Ses enfants et ses dieux. Va, cherche l’Italie... Où pour ton peuple renaissant, Après avoir longtemps erré sur l’onde Tu dois fonder un empire puissant, Dans l’avenir, dominateur du monde, Où la mort des héros t’attend.

The ghost of Hector: 'Heu fuge, nate dea, teque his' ait 'eripe flammis. Hostis habet muros; ruit atlo a culmine Troja. Sat patriae Priamoque datum: si Pergama dextra defendi possent, etiam hac defensa fuissent. Scara suosque tibi commendat Troja penatis; hos cape fatorum comites, his moenia quaere magna, pererrato statues quae denique ponto.'12

The music of this act could be influenced by the meter of the Aeneid. The opening line of Act

II, Scene I, is a dactylic line, created by the flutes, , and , while the rest of the instruments either tremolo13 or play the rhythm that is shown at the bottom of Figure 1. This excerpt reflects the poetic meter because the line follows the pattern for ,

…|– U U|– U U|– X|. Clark 7

Fig. 114

Many measures later there is another dactylic line, Fig. 2. In measures 99-100, Aeneas says,

“quelles douleurs ont flétri tonvisage?/ What sorrows have ravaged your face?”15 While this is being sung, the strings are emphasizing the dactylic meter by playing a pianissimo tremolo.16 The tremolo is used to provide enough suspense in the section while not overpowering the dactylic line. In the music, the rhythm is: …| – U U| – U U| – UU| – U|17 This line may parallel the line, cur haec vulnera cerno?/ “why do I see these wounds,”18 but upon closer examination, it appears to be more spondaic than dactylic; so the rhythm is not entirely influenced by Vergil’s text.

In Scene II, No. 14. Choeur-Prière, the Trojan women are surrounding the altar of

Vesta-. Some women are kneeling and sitting.19 Others have committed suicide on the steps of the altar. To set the tone of this song, Berlioz uses a surprising modal/ diatonic scale, a Locrian scale (mode). The Locrian mode is the “scarcest” mode used in the music of the

Western Hemisphere because it is very “harsh” sounding. In a normal minor scale, the third, sixth and seventh scale degree would be flatted. The Locrian mode, by comparison, has a Clark 8 flatted second, third, fifth, sixth, and seventh scale degree, which creates a tritone.20

Historically, a tritone was also called the “devil’s interval” because the interval was often used to signal the existence of something sinister or desolate. When listening to the piece, the

Locrian mode emphasizes and represents the despairing cries of the Trojan women.

Figure 3 shows the Locrian scale used in the cries to .

The “Chasse Royale et Orage/ Royal Hunt and Storm” is the musical interlude between Acts III and IV.21 According to Michel Austin, from The Website, the

Royal Hunt and Storm is based solely on Book IV: 117-168 of Vergil's Aeneid:

venatum Aeneas unaque miserrima Dido in nemus ire parant, ubi primos crastinus ortus extulerit Titan radiisque retexerit orbem. his ego nigrantem commixta grandine nimbum, dum trepidant alae saltusque indagine cingunt, desuper infundam et tonitru caelum omne ciebo. diffugient comites et nocte tegentur opaca: speluncam Dido dux et Troianus eandem devenient. adero et, tua si mihi certa voluntas, conubio iungam stabili propriamque dicabo. hic hymenaeus erit.' non adversata petenti adnuit atque dolis risit Cytherea repertis. ... postquam altos ventum in montis atqu invia lustra, ecce ferae saxi deiectae vertice caprae decurrere iugis; alia de parte patentis transmittunt cursu campos atque agmina cervi pulverulenta fuga glomerant montisque relinquunt. at puer mediis in vallibus acri gaudet equo iamque hos cursu, Iam praeterit illos, spumantemque dari pecora inter inertia votis optat aprum, aut fulvum descendere monte leonem. Interea magno misceri murmure caelum incipit, insequitur commixta grandine nimbus, et Tyrii comites passim et Troiana iuventus Dardaniusque nepos Veneris diversa per agros tecta metu petiere; ruunt de montibus amnes. speluncam Dido dux et Troianus eandem deveniunt. prima et Tellus et pronuba Iuno dant signum; fulsere ignes et conscius aether conubiis summoque ulularunt vertice Nymphae.22

Clark 9

In the Aeneid, are preparing to go into the woods to hunt. Dido is delayed in her bridal chamber, and Aeneas sees his son, Ascanius, in the valley running with his horse, because a terrible storm is arriving. A storm, that is mixed with hail, drives both Aeneas and

Dido to the same cave. When they arrive in the cave, Juno, in cohorts with , initiated the wedding ceremony with heaven as a witness. At the end, the howled from the top of the mountain. At the beginning of the Hunt, Berlioz uses chromaticism to represent the peaceful streams before the storm. Then around measure 58, the strings start creating suspense, indicating that the storm is coming. The terrible storm finally hits and begins at measure 79,23 and Dido and Aeneas were married between measures 218 and 242, when the nymphs started singing.24

Clark 10

Berlioz portrayed the intensity of the storm accurately to what Vergil had intended. Vergil wrote, magno misceri murmure caelum incipit, inseqitur commixta grandine nimbus/ “the sky begins to mix with great murmur, follows (immediately) a rain cloud with hail mixed in.”25

Berlioz may have started the storm at measure 79, but it is not until measure 132 that the hail is “mixed in”. He did this by a sesquialtera/ hemiola effect with the upper strings.26 To create this effect, the first violins and violas play steady eighth and quarter notes while the second violins are playing steady triplets. The triplets go against the eighth notes, creating the hemiola effect. Clark 11

Berlioz has a special attachment to Act V of Les Troyens, especially with Scenes II and III. In Berlioz's Memoirs, he says, “How often, construing to my father the fourth book of the Aeneid, did I feel my heart swell and my voice falter and break! ...when I reached the scene in which Dido expires on the funeral pyre... my lips trembled and the words came with difficulty, indistinctly. ...I was seized with a nervous shuddering and stopped dead. I could not have read another word.”27 The emotion that he felt while reading Book IV is the same emotion that he was able to put into Scenes II and III of Act V. However, it is important to mention that because the marriage between Dido and Aeneas was not done according to the traditional customs and none of the proper rituals were performed, it was not a legal marriage.

So, when Juppiter sent down to remind Aeneas of his task at hand, Aeneas had no choice but to obey Juppiter and “abandon” Dido.

Act V, Scenes II and III are influenced by Book IV: 642-671 of Vergil's Aeneid:

At trepidia et coeptis immanibus effera Dido sanguineam volvens aciem, maculisque trementis interfusa genas et pallida morte futura, interiora domus inrumpit lumina et altos conscendit furibunda gradus ensemque recludit Darnanium, non hos quaesitum munus in usus. Hic, postquam Iliacas vestis notumque cubile conspexit, paulum lacrimis et mente morata incubuitque toro dixitque novissima verba: “Dulces exuviae, dum fata deusque sinebat, accipite hanc animam meque his exsolvite curis. Vixi et quem dederat cursum peregi, et nunc magna mei sub terras ibit imago. Urbem praeclaraum statui, mea moenia vidi, ulta virum poenas felix, si litora tantum numquam Dardaniae tetigissent nostra carinae.” Dixit, etos impressa toro “Moriemur inultae inultae, sed moriamur' ait. 'sic, sic iuvat ire sub umbras. hauriat hunc oculis ignem crudelis ab alto , et nostrae secum ferat omina mortis.'dixerat, atque illam media inter talia ferro conlapsam aspiciunt comites, Clark 12

ensemque cruore spumantem sparsasque manus. it clamor ad alta atria: concussam bacchatur Fama per urbem. lamentis gemituque et femineo ululatu tecta fremunt, resonat magnis plangoribus aether, non aliter quam si immissis ruat hostibus omnis Karthago aut antiqua Tyros, flammaeque furentes culmina perque hominum volvantur perque deorum.28

But Dido, excited and savage with monstrous undertaking rolling (her) bloodshot eyes and with quivering cheeks suffused with stains and pale with impending death, bursts into the interior courts of the house and frenzied, climbs the lofty pyre and unsheathes the Trojan sword, a gift not sought for these purposes. Here, when she saw the Trojan garments and the familiar couch, hindering a little time in tears and thought, she reclined on the couch and spoke the very new words: 'Sweet spoils while the fates and the gods were allowing, receive this spirit, and free me (from) these troubles. I have lived and have accomplished the course which fortune had given (me) and now my ghost will go great under the earth. I have found a very renowned city; I have seen my walls; I have avenged a man and received vengeance from a hostile brother, blessed, alas extremely blessed, if only the Trojan ships never had touched our shores.' She spoke, and pressing (her) face upon the couch, she says 'We will die unavenged but let us die. Thus, thus I please to go under the shades. May the cruel Trojan drain with (his) eyes from this fire from the deep and bear with him the omens of our death.' She had spoken; and between middle of such (words her) companions behold her fallen on the sword and the blade foaming with blood and (her) hands sprinkled. A roar goes to the lofty halls; Fame rushes through the shattered city. With cries and groans and Feminine shrieks the houses' shout, the sky resounds the mighty wailings, not otherwise than if an enemy having been let in, all Carthage or ancient Tyre falls and the raging flames roll both through the roofs of men and through (those) of the gods.

However, there are no noticeable influences on the music from the poem's meter. In Act V,

Scene II, No. 47, Dido starts to go insane. With similarity to Dido's anger and madness in the

Aeneid, she says:

“Je vais mourir... Dans ma douleur immense submergée Et mourir non vengée!... Mourons pourtant! oui, puisse-t-il frémir A la lueur lointaine de la flamme de mon bûcher! S’il reste dans son âme quelque chose d’humain, Peut-être il pleurera sur mon affreux destin. Lui, me pleurer!... Énée!... Énée!... Oh! mon âme te suit, A son amour enchaînée, Esclave, elle l’emporte en l’éternelle nuit... Vénus! rends-moi ton fils!... Inutile prière D’un cœur qui se déchire!... A la mort tout entière n’attend plus rien que de la mort.”

I am going to die, drowned in my great grief – and die unavenged! Yet I must die. Could he but tremble when he sees from afar the glow of my funeral pyre! If any human feeling is left in his heart, perhaps he will weep at my pitiful fate. He weeps for me! Aeneas. Aeneas! Oh, my soul flies after you; chained to Clark 13

its love, it bears it down to everlasting night. Venus, give me back your son! Futile prayer of a heart torn asunder. To death devoted, Dido has nothing more to look for but death.29

The music accentuates her madness by using a sequence of fast-paced, upward moving eighth notes. For example, in Fig. 6, measures 83-92, Dido says: “Aidezmoi! Que par vous mon coeue soit enflammé D'une haine terrible pour ce fugitif que j'aimai!/ Help me; inflame my heart with burning hatred for this fugitive whom I loved.”30 The music helps to emphasize that she has anger towards Aeneas, not only with the sequence of eighth notes but also with eighth notes in step-wise motion. Instead of emphasizing her insanity, the next sequence stresses her despair and her sadness. Berlioz uses a series of minor seventh chords to get the sorrowful effect.

Clark 14

In addition to the seventh chords, Berlioz composes Dido's solo to sound recognizably monotone most of the time, as shown in Fig. 7. He does this by composing a still solo line full of step-wise motion with little to no disjunct motion.31

In Dido's monologue in No. 50, the last words that she says before she stabs herself and the stage directions say, “'C'est ainsi qu'il convient de descendre aux enfers!' (Elle tire l'épée du fourreau, se frappe et tombe sur le lit.)/ Thus it is fitting to go down to the shades below! (She pulls the sword from the scabbard, stabs herself, and falls on the bed.)”32 This is taken directly from the text in Book IV.

'Sic, sic juvat ire sub umbras....' Dixerat, atque illam media inter talia ferro conlapsam aspiciunt comites, ensemque cruore spumantem sparsasque manus.33

Vergil’s Influence on Berlioz’s Completion

Vergil influenced Berlioz's completion of Les Troyens. On April 12, 1858, Berlioz

“completed and dated the final scene of the opera…. Alongside the date, he added an exhortation from : Quidquid erit, superanda omnis fortuna ferendo est”/ “whatever will be, all fortune is overcome by enduring.”34 Berlioz’s use of the Aeneid in writing Les Troyens brought another avenue of impact to the well-known epic. He used the opera as another way for himself to influence other composers of the Romantic period with his ideas to continue the classical revival of the 19th century by putting classical literature into the current music of the time and by showing his different approach to orchestration, as it is written in his Clark 15 instrumentation treatise. All in all, Vergil was very influential on Berlioz's life as well as Les

Troyens by writing an epic that shows modern life in ancient times, following the common sequence of love, marriage, abandonment, and suicide.

Clark 16

Bibliography

Barzun, Jacques. Berlioz and the Romantic Century. Vol. 2. New York: Columbia University Press, 1969.

-----. Hector Berlioz. http://www.britannica.com/EBchecked/topic/62247/HectorBerlioz (accessed December 5, 2014).

-----. New Letters of Berlioz: 1830-1868. New York: Columbia University Press, 1954.

Berlioz, Hector.“Acts II,IV, and V,”in Les Troyens, Edited by Hugh MacDonald. : Bärenreiter-Verlag, 1969.

-----. Les Troyens: Opera in Five Acts. Introduction by Speight Jenkins. New York: G. Schirmer, Inc., 1973.

-----. Memoirs. New York: Alfred A. Knopf, Inc., 1969.

Cairns, . “Berlioz and Virgil: A Consideration of Les Troyens as a Virgilian Opera.” Proceedings of the Royal Musical Association 95 (1968 – 1969), 97-110.

-----. Berlioz: Servitude and Greatness. Vol.2. California: University of California Press, 2000.

Dickinson, A. E. F. “Music for the Aeneid.” & Rome VI.2 (October 1959), 129-147.

Donatus, Aelius. Life of Virgil. Translated by David Scott Wilson-Okamura. http://virgil.org/vitae/ (accessed December 3, 2014).

Holoman, D. Kern. Berlioz. Cambridge, MA: Harvard University Press, 1989.

Ketterer, Robert. “Berlioz, Hector: 1803-69” in The Virgil Encyclopedia. Edited by Richard F. Thomas and Jan M. Ziolkowski. Vol. 2. West Sussex, UK: Wiley Blackwell, 2014.

Langford, Jeffery. “Berlioz, Cassandra, and the French Operatic Tradition.”Music & Letters, 62, no. 3/4 (Jul. - Oct., 1981), 310-317.

Pharr, Clyde. Vergil's Aeneid. Lexington, MA: 1964.

Pillinger, Emily. “Translating Classical Visions in Berlioz's Les Troyens.” Arion 18.2 (Fall 2010): 65-103.

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Rushton, Julian. The Musical Language of Berlioz. London: Cambridge University Press, 1983.

-----. The Music of Berlioz. New York: , 2001.

Strunk, W. Oliver. “Vergil in Music.” The Musical Quarterly 16, no 4 (October 1930), 482- 497. Clark 18

Endnotes

1. Jacques Barzun , Hector Berlioz, http://www.britannica.com/EBchecked/topic/62247/HectorBerlioz (accessed December 5, 2014).

2. Hector Berlioz, Les Troyens: Opera in Five Acts, Intro. By Speight Jenkins (New York: G. Schirmer, Inc., 1973), iii; I will call this work “Libretto.”

3. Barzun, 121.

4. In Berlioz's Memoirs, he only mentions taking the text from Book II and IV.

5. Aelius Donatus, Life of Virgil, Trans. David Scott Wilson-Okamura, http://virgil.org/vitae/ (accessed December 3, 2014), 23-24.

6. Clyde Pharr,Vergil's Aeneid (Lexington, MA, 1964), 15; In Aeneid 1:1, the man refers to the Odyssey and the arms refers to the Iliad.

7. Acts I and II consists of the war and Acts III-V consists of love and death.

8. Libretto, iv.

9. Jacques Barzun, Berlioz and the Romantic Century (New York: Columbia University Press, 1969), 2:135.

10. The new city of Troy is in .

11. Libretto, 6; “Oh light of Troy, pride of the Trojans, after all the labours of your fellow citizens, from what unknown bourne do you come? What veil seems to cloud your noble eyes? Hector, what sorrows have ravaged your face?”

Aeneid, II: 281-86; “O light of Troy, O most trusty hope of the Trojans, What so great delay has held (you)? From what shores, Hector, long looked for, do you come? How we tired after many deaths of your (friends)look on you, after the varied labors of the people and of the city. What shameful cause has married calm features or why do I see these wounds?”

12. Libretto, 6; “Ah! Fly, son of Venus – the enemy's within our walls. From its high summit all Troy is falling! A hurricane of flame is rolling from temple to palace with clouds of choking smoke. We had done enough to save our country but for the decree of fate. Pergamon entrusts you its children and its gods. Go... seek Italy, where for your people reborn, after long wanderings over the sea, you are to found a mighty empire, destined in the future to rule the world.” Clark 19

Aeneid, II: 289-95; “Alas, flee, goddess born, and rescue you(rself) from these flames. The enemy holds the city walls; Troy falls from lofty pinnacle; enough (has been) given to (our) country and : if Troy could be protected by a right (hand), if it would have been protected even by this. Troy entrusts to you (its) sacred (things) and its household gods; take them (as) companions of your fate and seek for them the mighty walls when you will establish at last, the sea (having been) wandered through.” 13. A tremolo is a wavering effect of a musical tone, which is produced by a rapid repetition of the note.

14. Hector Berlioz, “Acts II,IV, and V,”in Les Troyens, Ed. Hugh MacDonald (Kassel: Bärenreiter-Verlag, 1969), 203-294, 443-590, 591-751.

15. Libretto, 6.

16. A pianissimo tremolo is a very quiet repetition of the same note.

17. The long vowels are indicated by (–), and the short vowels are indicated by (U). The traditional dactylic line looks as follows: |– U U|– U U|– U U|– U U|– U U|– X| (The X is the anceps vowel)

18. Aeneid, II: 286.

19. Libretto , 7.

20. A tritone is the flatted (diminished) fifth and is characterized by the three whole steps at the end of a Locrian modal scale.

21. The Royal Hunt and Storm is placed as the first scene in Act IV.

22. Aeneid, IV: 117-68; “Aeneas and together most miserable Dido are preparing to go into the woods to hunt, where tomorrow's Titan has carried out the first risings and have covered again the Earth with rays. These I will pour from above a black rain cloud mixed in with hail, while the hunters are hurrying and surrounding the glade with (a circle of) nets and with thunder, I will stir up all heaven. Comrades will flee apart and will be covered by dark night: Dido and the Trojan leader will arrive at the same cave. I will be present, and if to me your will is certain, I will join in stable wedlock and I will say as his own. This will be the wedding (hymn). “Not opposing her asking granted and Venus smiled at the discovered fraud. Meanwhile rising leaves the ocean. The chosen youth goes from the port (when) the rays (of the sun) having been risen (there are) open nets, toils, and hunting spears with broad blade, and Massylian horsemen rush along and a keen-scented force. The chiefs of the Carthaginians wait the queen delaying in (her bridal) chamber at the thresholds, and distinguished in both and gold, stands the steed and fiercely chews (his) foaming bits. Finally, she advances, a great crowd surrounds whit a Tyrian cloak surrounded by an embroidered boarder; which quivers out of gold, her hair is fastened with gold, a golden clasp fastens (her) purple robe. Likewise, and the Phrygian comrades and happy Iulus goes Clark 20

(proudly). Aeneas, himself, most beautiful above all others, bears himself an ally and joins (his) army. Just as Apollo, when he deserts wintry Lycia and the streams of Xanthus, and visits (his) maternal and renews the dances, and mixed around the altars the Cretans and the Dryopians and painted Agathyrsi shout, (he) himself marches on the (mountain) ridge of Cynthus and foaming (his) flowing hair he covers with soft foliage and weaves with gold, weapons roar on (his) shoulders: not slothful he went to Aeneas; so great beauty shines forth from (his) noble face. When they came in lofty mountains and pathless marsh, Look!, wild she-goats dislodged from the heights of a rock run down from the ridge; from another part the deer are crossing the open plains and collect dusty lines fleeing and desert the mountains, but the boy, Ascanius in the middle of the valleys exults in spirited horse, and now these , he overtakes by running, now those passes and with prayer he begs that the foaming boar be given among it the lazy livestock, or that a golden lion would descend from the mountain. Meanwhile, the sky begins to mix with great murmur, follows (immediately) a rain cloud, with hail mixed in, and the friends of Tyre everywhere and the Trojan youth and the Dardanian grandson of Venus sought separated coverings in fear through the fields; the streams rush (down) from the mountains. Dido and the Trojan leader come (down) to the same cave first both Mother Earth and matron-of-honor, Juno, give the signal; the fires flashed and heaven is a witness for the wedlock, and from the top summit, the nymphs howled.”

23. In this YouTube performance, the beginning of the storm starts at 3:08, the storm arrives at 3:50, the end of the storm is at 5:12, and the nymphs start singing at 7:03, https://www.youtube.com/watch?v=C2ocjUFzUIU.

24. Figure 4a represents the stream. Fig. 4b is the anticipation of the storm. Fig. 4c represents the storm, and Fig. 4d represents the singing nymphs.

25. Aeneid. IV:160-61.

26. A sesquialtera or hemiola effect is when there is a 3:2 feel in the music.

27. Hector Berlioz, Memoirs (New York: Alfred A. Knopf, Inc., 1969), 35.

28. Aeneid, IV: 642-71.

29. Libretto, 21.

30. Ibid.

31. Disjunct motion is when the music “leaps” (goes more than a whole step to the next note). To hear the step-wise motion and Dido's monologue in No. 47, look at https://www.youtube.com/watch?v=BOnShOj2Q_0.

32. Libretto, 22 Clark 21

33. Aeneid, IV: 660-65; “Thus, thus I please to go under the shades. May the cruel Trojan drain with (his) eyes from this fire from the deep and bear with him the omens of our death.' She had spoken; and between middle of such (words her) companions behold her fallen on the sword and the blade foaming with blood and (her) hands sprinkled.”

34. David Cairns, Berlioz: Servitude and Greatness (California: University of California Press, 2000), 2: 627; Aeneid,V: 710.