Let’s celebrate the end of the week with Hector Berlioz’s Le Corsaire Overture. The high voltage performance below, featuring Sir Mark Elder conducting the Manchester (UK)-based Hallé Orchestra, is from this past summer’s BBC Proms at Royal Albert Hall.
You can take the significance of this overture’s name with a grain of salt. Written in 1844, it was first performed under the title, La tour de Nice. Then it was renamed Le corsair rouge after James Fenimore Cooper’s 1827 novel, The Red Rover and again renamed The Corsair after Lord Byron’s poem. Berlioz also published articles and provocative music criticism in the newspaper, journal Le Corsaire.
Le Corsaire starts off with a bang, instantly grabbing our attention with a swoosh of virtuosity. Like so much of Berlioz’s opium-influenced music, there’s something slightly schizophrenic and deranged about this overture. It keeps us off balance, harnessing the power of the unexpected. Rhythmically, it seems on the edge of spinning out of control, with notes frequently appearing on the “wrong” beats. Notice the strange, parallel harmony (1:31) and sudden interjections (3:58).
Berlioz expanded the orchestra (trombones and tuba, for example) and mixed instruments in bold and innovative new ways. In the passage beginning at 4:47, listen to the way the melody is passed between instruments. Also pay attention to the obsessive repeated rhythm in the strings (later picked up by the chirping woodwinds) and the unpredictable bass interjections. There’s a sudden new dimension to the sound as the cellos double the violins at 5:00, but like everything else in this overture, the new sound emerges and then, suddenly, it’s gone, like an opium-inspired vision.
It’s all resolved with an earth-shatteringly powerful exclamation point. Elder brings out the trumpets for this final chord. You’ll see them raise their bells for added volume.