Theory Grad Comprehensive

Stephen Barton
15 February 2021

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1 Introduction
This fantasy on themes from the opera Der Freischütz by Carl Maria von We-
ber is part of the flute repertory of the late 19th century. This time period saw
other “second rate” composers such as François Borne’s Fantasy on Themes
from Carmen (published in 1880) and Jules Demersseman’s Fantasy on Themes
from ‘Oberon’ (published in 1866). Most of these works, and the Taffanel in
particular, present major themes from these operas in juxtaposition using con-
nective material. The melodies are largely lifted directly from the operas in
question and the harmonic language is traditional 19th century harmony that
relies on some extended harmonies such as diminished seventh chords and sec-
ondary dominants to add interest to the known melodies and harmonies.

2 Analysis
2.1 Introduction
This fantasy begins with a dramatic piano introduction that culminates in a C
fully diminished seventh chord in measure 6. This sets the solo flute up to play a
recitative over this chord as an introduction of the soloist. This pattern is then
repeated, but with the second recitative occurring over a D fully diminished
seventh chord. The introduction then has more lyrical moments to introduce
a contrast to the brilliant technicality of the opening. This section ultimately
ends on an A major chord, setting us up for the first theme.

2.2 Theme 1
The first theme continues the A major chord from the introduction and resolves
in measure 50 to the new tonic of D major. This theme is a slow theme that has
a largely stepwise melody with some skips of a third, corresponding to chordal
tones. The harmonic language of this theme largely consists of tonic, dominant,
and secondary dominant chords to emphasize the simple melody. The form of
this theme is straightforward and simple. Measures 50-53 are a presentation
phrase and measures 54-57 are the continuation phrase. Together, these two
phrases make a sentence that ends in a half cadence in measure 57. This 8-bar
sentence is followed by another 8-bar sentence that resolves to D major. At the
end of this theme presentation, there is a 4-bar repetition of the cadence. The
resolution from bars 65-66 elides into the second theme.

2.3 Theme 2
The second theme continues our key area of D major. Here, we have traditional
harmonic progressions leading us back to the tonic. After some chromatic mate-
rial in bars 78-82, we begin to tonicize F minor. The flute melodic lines here are
largely used to decorate the harmonies until measure 91, where a melody in F
minor appears. The basic idea appears in measures 91-92 and is repeated with

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slight variation in measures 93-94. This is then followed by the continuation
in 95-98 and a cadential progression in 99-101. In total, this makes a complete
sentence. Measure 105 begins to take us back to the key area of D major, which
is firmly re-established in measure 119.

2.4 Bridge
Measures 120-152 consist of connecting material in the piano and the flute. This
section is largely filler to transition us to the third theme.

2.5 Theme 3
The third theme begins in measure 157 after a chromatic rise to the dominant
of G major and establishment of G major as the key area. Like the first theme,
the third theme is slower and very traditional in its harmonies. The theme is
presented and has the form of a contrasting period. The antecedent consists of
measures 157-161, where the melody ends on the dominant with an imperfect
authentic cadence. The consequent consists of measures 161-165, where the
melody ends on the tonic with a perfect authentic cadence. The contrasting
period begins at the end of measure 165 and continues through the end of this
theme in measure 177. Measures 178-194 leave the theme and transition us to
a variation on theme 3.

2.5.1 Pattern 1
This pattern occurs from measures 195-202. Here, the theme is played plainly in
the piano while the flute part plays slurred triplets to decorate the main theme.

2.5.2 Pattern 2
This pattern begins in measure 203 and only lasts 3 measures, but offers a
contrast to the chordal triplets from earlier and emphasizes repeated notes on
the offbeats while preserving melodic motion on the downbeats.

2.5.3 Pattern 3
This pattern is from measures 206-209. This pattern emphasizes large chromatic
chordal motion in the flute part. It also leads us into measures 210-212, which
transition to the second major variation pattern on the main theme.

2.5.4 Pattern 4
This pattern begins in measure 213 and is a variation of the main theme once
again. This variation involves a decorated melody in the flute and the melody
played simply in the piano. The decoration occurs at the level of the 32nd
notes and involves alternation between patterns 2 and 3 with chordal slurs

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being interspersed with repeated articulated notes on the offbeats. This section
decidedly re-emphasizes the G major key area at the end.

2.6 Bridge
There is another short connecting section from measures 240-246 in the piano
that leads directly into the fourth and final theme from the opera.

2.7 Theme 4
The fourth theme begins in measure 247 with a two-bar introduction in the
piano. The melody here is less stepwise than other themes throughout the piece
and is more articulated. The harmony that is established here is again a largely
tonic, dominant, and secondary dominant relationship.

2.8 Finale
The finale of the fantasy begins in measure 291 and consists of the piano taking
over the fourth theme while the flute decorates it with varied rhythm, articula-
tion, and scales. The flute returns to the fourth theme in measure 303 and this
leads us directly into the coda.

2.9 Coda
The coda begins in measure 312 and consists of large scalar runs in the flute
over a constantly emphasized tonic of G major. In the final bars of the piece, we
are completely emphasizing the G major harmony as the last thing the listener
will hear. On a large scale, this relates to the D major of the first theme as
we have now resolved to G major, which could be heard as a dominant tonic
relationship in the large scale.

3 Impact on Performance Practice

3.1 Form and its Impact on Melody
The knowledge of the form of the piece plays an integral role in the interpretation
of the work. Notably, understanding how we get from one theme to the next
will alter how we perform each theme, since they are not independent events.
Also, understanding the classical structures of period and sentences allow us
to vary the presentation of a theme depending on if we are in an antecedent,
consequent, presentation, or continuation. In the variations of theme 3, we will
also alter how we play the “decorated” patterns. For instance, measures 195-196
illustrate how we would want to emphasize the melody and allow the remaining
decorative notes to play a background role.

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3.2 Harmony
Understanding the large scale harmony allows us to pace the performance as
well. The harmony largely moves from D major to G major at the end of the
work. Emphasizing key areas such as F minor in their relation to the main area
(D major in this case) also allow us to bring out nice harmonic differences. This
can be achieved through differences in articulation, vibrato, and tone color. The
many secondary dominants also allow the performer to bring out the movement
from dominant to tonic throughout the piece, which plays an integral role in a
late 19th century piece.