The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing Page: 64
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melody in the Resurrexit ("Iterum venturus"). The addition of the three notes at the
beginning of the melody gave Berlioz the extra time he needed to set the text
convincingly and provided for an excellent setting of this text. This further demonstrates
that Berlioz made a concerted effort to adapt the material from the Resurrexit into the
opera as seamlessly as possible.
In this borrowed section, much of the orchestration remains the same as it was in
the Resurrexit. Berlioz tended to use more instruments in the texture of Benvenuto
Cellini than in the Resurrexit, which is logical since Berlioz had learned a great deal more
about orchestration in the years following his composition of the Messe solennelle. In
general, the "Et iterum venturus" section of the Resurrexit involves the only choir,
strings, and bassoons. It is interesting that Berlioz gave the lower pitched instruments
most of the activity, as this soft, low accompaniment helps create the sense of impending
doom without intruding in the vocal line (Example 2-3).
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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/m1/70/: accessed July 17, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .