The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing Page: 35
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35
EXAMPLE 1-1, "Cujus regni non erit finis," mm. 158-170
168 173
I- I
Cu gm non
Each word occupies two measures as the melody ascends. The beginning of each
word, with the exception of "erit," is accented with a tied whole note (outlining the B-flat
chord), and the second syllable is given to chromatic color. The effect is one of upward
propulsion as Berlioz pushes the text forward and higher until it reached its climax. As
he arrives at the climax of the melody, however, Berlioz has to make a slight change to
the text setting. Each word, with the exception of "non," had two syllables, of which
Berlioz usually stressed the first syllable in the first measure and tied into the second
measure of the group. In the second measure which would be designated to finish "non,"
Berlioz placed the "e" from "erit," and then subsequently stressed the "rit" on the first
note of the next measure (D), which forms the climax of the phrase.
The text setting in the second part of the phrase is much different from that in the
first half. As the line descends, there is a chromatic motion, which helps give the melody
a greater sense of color and expressiveness. With the descending motion of the line, the
first four words, "Cujus regni non erit," of the text are restated. In this descending
gesture, the syllables that had previously been on weak beats are now placed on strong
beats. Though these syllables shift to strong beats, there is not a strong sense of accent as
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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/m1/41/?rotate=90: accessed July 17, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .