Reverie: Classical Music Inspired by Dreams

You know the feeling of being swept away by your own imagination? Of losing track of all things reality for a magical place of memories and thoughts and what-ifs? Well, many composers throughout music history have tried to capture this feeling of reverie in their music.

From Madness to Daydreams

But first, a little background on the concept of reverie. The first known use of the expression was in the year 1654 to mean “daydream”, but the root of the word comes from the French term rever, meaning “to speak wildly; delirium” (a.k.a to rave about like a lunatic). Since then, the word has evolved to mean “a state of being pleasantly lost in one’s thoughts; a daydream.”

Let’s explore these states of reverie in classical music.

*By the way, there is another (more musical) definition for the word reverie: an instrumental piece suggesting a dreamy or musing state.

Reverie as Madness: The Not-So-Nice

Up first is music that portrays the darker side of rever:

Music for Strings, Percussion, and Celesta – Mvmt III by Béla Bartók (1881-1945)

This work, composed by Bartók in 1927-28, scarily depicts madness and insanity through four distinct movements. In the Adagio, the harmonies combine with continuously changing melodic and rhythmic motifs to create a dream-like world; one I’m not sure I want to live in. The movement opens with a xylophone solo (one of the most famous in the repertoire, in fact) where the percussionist plays one note that gradually gets faster and faster before slowing down. The rhythm here follows a Fibonacci sequence: 1 note per beat, then 2, 3, 5 8, 5, 3, 2 and 1 again.

Overall, Music for Strings, Percussion, and Celesta has been described as one of Bartók’s “most chillingly atmospheric” works. I think it showcases the not-so-pleasant side of reverie perfectly. Read more about this piece here and here.

“Symphonie Fantastique” by Berlioz (1803-1869)

Berlioz‘s Symphonie Fantastique is the epitome of a disturbing reverie (hey, the first movement is even called Rêveries – Passions). Composed in 1830, the five-movement work tells the story of an artist who has overdosed on opium to soothe his broken heart. He then dreams this wild and fantastic dream where, well, he kills his beloved. And in the 4th movement, Marche au supplice (“March to the Scaffold”), the artist witnesses his own execution.

What makes it worse is that the symphony is a narrative for Berlioz’s own heartbreak. Dark. You can read more about this work here.

*Side note: I did not find anything in my research to suggest that Berlioz experienced this dream himself, but he did write the symphony as a result of an unrequited love. And history suggests that Berlioz did indeed compose at least some of the symphony while on opium. 

Daydreaming in Music: Pleasantly Lost in Thought

Now let’s listen to some pieces written to capture the beauty and nostalgia of reverie:

“Rêverie” by Claude Debussy (1862-1918)

Rêverie, composed sometime between 1880 and 1884, was one of Debussy‘s first piano solos to make a lasting impact. He was still trying to find his own voice as a composer at this time (in fact Debussy did not think this work was good at all), yet this beautiful meditation captures the lost-in-thought mood perfectly. The gently rocking and repetitive opening theme lulls us into a world of lush harmonies, delicate melodies, and rich textures.

Giovanni Bottesini’s Reverie

Bosettesini (1821-1889) composed this gorgeous work for double bass and piano in 1870. Originally planned for cello and orchestra, this work uses late Romantic era characteristics – such as beautiful melodies, lush harmonies, and a full, orchestral-sounding accompaniment – to tell a story. This work is full of nostalgia and memories.

*Fun fact: Bosettesini was a double bass virtuoso. In fact, he is considered the Paganini of the double bass.

“Sweet Dreams” (Douce Reverie) Op. 39 No. 21 by Tchaikovsky (1840-1893)

This delightful little piano work is part of Tchaikovsky‘s op. 39, a collection of 24 short piano pieces written for children composed in 1878. “Sweet Dream” consists of a charming melody over a delicate accompaniment. And it perfectly captures the spirit of reverie.

Contemporary Daydreams

Now I want to share a contemporary interpretation of reverie with you in the form of an album (entitled Reverie of course) by composer Rafael Anton Irisarri. The album has three works. The first two, Lit a Dawn and Embraced, are ambient pieces created to instill a sense of dreaminess and memories in the listener. Irisarri uses texture and open space to create an atmosphere of detached meditation.

The final work on Irisarri’s album is his interpretation of Für Alina by 20th century composer Arvo Pärt (b. 1935):

Pärt wrote Für Alina around the year 1976 as a piano solo for Alina’s mother after being separated from her daughter. (Read more about that here.) The sheet music itself is very simple; sparse notes in the key of B minor characterize Pärt’s unique compositional style known as tintinnabuli (Latin for “a bell”.) Listen for the chant influence and bell sounds in Für Alina.

Irisarri added background synths to his interpretation of Pärt’s work, elevating the mystic and dreamlike atmosphere. The reverie induced while listening to  Für Alina is one of sadness and heartbreak.

What music whisks you off to a world of daydreams and memories?