Hector Berlioz Essay Research Paper Hector Berlioz free essay sample

Hector Berlioz Essay, Research Paper Hector Berlioz wrote the Symphonie fantastique at the age of 27. He based the plan on his ain ardent life and transferred his memoirs into his best- known plan symphonic music. The narrative is about a love sick, down immature creative person, while in his desperation toxicants himself with opium. His dear is represented throughout the symphonic music by the symbolic idee fixe. There are five motions throughout symphonic music. The plan begins with the 1st motion: Reveries, Passions typifying the creative person? s life prior to run intoing his dear. This is represented as a mundaness and undefinable searching or longing, until all of a sudden, he meets her and his yearning suddenly ceases and is replaced by volcanic love. The surging tune becomes the Idee fixe and is introduced in this subdivision. The 2nd motion: A Ball. This motion is representative of the jamboree ball where he one time once more sees his dear. We will write a custom essay sample on Hector Berlioz Essay Research Paper Hector Berlioz or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page This subdivision is a dance motion in three-part signifier. The Idee fixe reappears in waltz clip. The 3rd motion: Scene in the Fields. This subdivision represents a placid interval. It is a summer eventide in the state and he hears two shepherds shrieking. The placid minute of the quiet summer flushing entirely with the pastoral couple fills his bosom with an unfamiliar composure. Suddenly she appears and her visual aspect causes an emotional response of sorrowful solitariness. The 4th motion: March To the Scaffold. He dreams that he has killed his dear, he is condemned to decease and is being lead to the scaffold. At the terminal of this motion the Idee fixe reappears for a short case and the reappearance becomes symbolic of the last idea of love that is interrupted by the axe. The fifth motion: Dream of a Witch? s Sabbath. He imagines himself at a enchantress? s Sabbath environment by grim liquors who have gathered for his funeral. The atrocious sounds of moans, scream, and shriek laughter reverberation in his ears. Then, all of a sudden once more the Idee fixe appears. It is his darling. But the familiar Idee fixe is no longer the reserved and baronial tune of the anterior motions. The Idee fixe has now taken on new signifier and has become vulgar and grotesque. She has come to this devilish binge. The enchantresss greet her with ululating joy and she joins them in the diabolic dance ; Bells toll for the Dead. Listening Guide 25 is the fourth motion, March To the Scaffold: The devilish March is in minor and the Idee fixe is heard in the last portion of this motion. The clarinet is the instrument that represents the Idee fixe and at the really end it is cut off by a dangerous forte chord and so ends in a Hadean ether. Structure The medium is a big orchestra, ( flute, piccolo, 2 clarinets, 4 French horns, 4 bassoons, 2 huntsmans horns, 2 horns, 3 trombones, 2 ophideiodes, 2 kettle, bass membranophone, bells, strings ) . The signifier is loose tenary ( A-B-A ) . The motion is in 6 subdivisions. It begins with the debut of baleful rub-a-dubs and hushed brass. The debut ends with an detonating crescendo of a base membranophone which instantly introduces the 2nd subdivision of subject A of low strings in a slow cautious pacing, and is picked up by fiddles. Subject B brass and woodwinds enter and picks up the pacing of devilish March melody. The gap subdivision is so repeated. The 3rd or mid subdivision is the development subdivision. The tenary ( B-A-B-A ) Begins with subject B in brass, so theme A pizzicato strings, jumping once more to B in Brass so Theme A. The fifth subdivision is Theme A in full orchestra in original signifier, so inverted, ( go uping graduated table ) . The 6th subdivision, the tune Idee fixe in clarinet, ( ? a last idea of love? ) , in? dolce assai vitamin E passionato? , followed by loud chord that cuts off tune, important of ( ? the autumn of the axe? ) . The debut begins with the distant sound of a steady whipping membranophone that seems to go louder. The steady round is a March It has a serious tone with a non altering round. The tune of the March is level and gives a sense of impending dume. The brass bursts in on the drone membranophone round and all of a sudden takes over the tune and zooms in an rise sound, making an vertex and creschendos and so subsides with low strings transporting the tune in a decending graduated table. There is a recapulation of this rise and falling sound and so the viola and bassoon unassumingly enter and easy get down to organize at that place ain speedy small tune, wholly unrelated to the grander tune of the brass that maintains the deeper, grander, slower background. At the mid-section of this motion, it begins to take on an abstract quality. The subject becomes more developed here and Belois employs the usage of oppisite extremes to relay the tempers of a manic-depressive province. He picks up the pacing in full ochrestra in what seems to be allegro in a expansive triumphant March and so adds a disjunct touch by sudden ly decelerating the pacing down in low strings to a delilerate depressive crawl. A disagreement of the tune is heard when he adds a sczophrantic touch by adding the bizaar fiddle gutsinesss. In the last subdivision at the shutting, the strings pick up at a frenetic gait giving the feeling that a new minute of anxiousness has arisen and so all of a sudden, all is quiet and the Idee fixe, the sweet tune of the clarinet is heard. Without warning the axe has fallen, the sweet clarinet tune is cut off by the clang of a symbol and so the finale. My Impression Harriet Smithson should be proud to hold this symphonie written about her. The symphonie fantastique 4th motion relates a quality of energy that is consistant with inapropriate temper alterations that can sometimes be captured when in a dream-like province. The March to the scafold begins to go confused when instead so a decease March, it starts to develop a grandiloquent overtone, and go more or a expansive prominade, but this is portion of the composer? s genous. He composed the music to what would be the disjunct qualities of a dream-like province. This music relates an abstractness that is symbolic of the head in a semi- witting province. 323