The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing Page: 30
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following chart, Figure 1-2, indicates the sections in terms of tonality and relationship to
the text.
The overall structure of the Resurrexit is particularly noteworthy because in the
beginning of the second half of the movement, Berlioz began to create an arch structure.
Sections D and D' ("Cujus regni non erit finis") divide the Resurrexit into two almost
equal halves (D' begins in measure 206 out of 400 total measures). From the beginning
of the Resurrexit through D, Berlioz has progressed through the text in liturgical order.
Instead of advancing to the next section of text in the beginning of D', Berlioz returned to
the beginning of D, restated the first line of text ("Cujus regni non erit finis"), and then
proceeded to set new text over the music from D. While resetting text, he was able to
create some variety by setting section D' in A-flat major in contrast to the B-flat major
tonality of the initial section D. Berlioz then restated the text from section C ("Et iterum
venturus est") and repeated most of the material, thus making this section C'.
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Gill, Sarah M. The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing, thesis, December 1999; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc2249/m1/36/: accessed July 17, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .