Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
symphonie fantastique was like an autobiography of hector berlioz’s feelings for ____.
hector berlioz symphonie fantastiques dynamics
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Hector Berlioz's Symphonie Fantastique
Hector Berlioz wrote the Symphonie fantastique at the age of 27. He based the program on his own impassioned life and transferred his memoirs into his best- known program symphony. The story is about a love sick, depressed young artist, while in his despair poisons himself with opium. His beloved is represented throughout the symphony by the symbolic idee fixe. There are five movements throughout symphony. The program begins with the 1st movement: Reveries, Passions symbolizing the artist's life prior to meeting his beloved. This is represented as a mundaness and indefinable searching or yearning, until suddenly, he meets her and his longing abruptly ceases and is replaced by volcanic love. The soaring melody becomes the Idee fixe and is introduced in this section.
The 2nd movement: A Ball. This movement is representative of the gala ball where he once again sees his beloved. This section is a dance movement in three-part form. The Idee fixe reappears in waltz time.
The 3rd movement: Scene in the Fields. This section represents a tranquil interval. It is a summer evening in the country and he hears two shepherds piping. The tranquil moment of the quiet summer evening alone with the pastoral duet fills his heart with an unfamiliar calm. Suddenly she appears and her appearance causes an emotional response of sorrowful loneliness.
The 4th movement: March To the Scaffold. He dreams that he has killed his beloved, he is condemned to die and is being lead to the scaffold. At the end of this movement the Idee fixe reappears for a short instance and the reappearance becomes symbolic of the last thought of love that is interrupted by the axe. The 5th movement: Dream of a Witch?s Sab...
... middle of paper ...
...ty has arisen and then suddenly, all is quiet and the Idee fixe, the sweet melody of the clarinet is heard . Without warning the axe has fallen, the sweet clarinet melody is cut off by the crash of a symbol and then the coda. My Impression Harriet Smithson should be proud to have this symphonie written about her. The symphonie fantastique fourth movement relates a quality of energy that is consistant with inapropriate mood changes that can sometimes be captured when in a dream-like state. The march to the scafold begins to become disoriented when rather then a death march, it starts to develop a pompous overtone, and become more or a grand prominade, but this is part of the composer?s genous. He composed the music to what would be the disjunct qualities of a dream-like state. This music relates an abstractness that is symbolic of the mind in a semi- conscious state.
The next work of the program, Courtly Airs and Dances, is a multi-movement work composed by Ron Nelson. The piece is split into six movements: Intrada, Basse Danse, Pavane, Saltarello, Sarabande, and Allemande. Each of these present distinct characteristics that separate it from each other movement, yet all are united by being a style of dance. The first movement, Intrada, presents a fanfare-like opening to the multi-movement work. The trumpets and brass section as a whole lead this, as they create a sense of nobility. The key is major and the tempo is one that could be described as allegretto—it is not a fast tempo, yet more brisk than an andante pace. The texture is homophonic, as there are different parts being performed by different
Berlioz also presents a particular difficulty of musicianship of being closer to the true sources of music than to its German, italian, or French conventions. His melody is abundant and extended and is often disconcerting to the lover of four-bar phrases.As George Benard Shaw said “Call no conductor sensitive in the highest degree to musical impressions until you have heard him in Berlioz and Mozart.” Being compared to Mozart is a great thing, because honestly nowadays everyone knows who Mozart is no one would really pull out that they knew who Berlioz is. Later in Berlioz composing career he became a very Influential music critic. He wrote about Giacomo Meyerbeer, Mikhail Glinka, Paganini, Liszt and other musicians. He completed the opera “Benvenuto Cellini” which took four years from 1834-1838. Later in 1838 his “Harold en Italie” was performed at the Paris Conservatoire. After being gone in Belgium and Germany, Berlioz returned to paris. His friend came up with the idea that they should do concerts in Russia. Berlioz was invited to Russia twice, each tour brought him financial gain beyond his expectations. The Requiem of 1837, requested compose of another work for a public ceremony “Symphonie Funebre et Triomphale” for military band, chorus,and strings, for the 10th anniversary of the July Revolution(1840). After many
The author, Brian Seibert, describes the dancer, Barba, performing a dance piece called “Wigman.” He describes this dance piece in terms of the body movement through rhythm as well as the exhale and inhale gestures and physical expression. “His attention to detail drew the eye to the press of fingertips and the bottoms of palms in an attitude of prayer.” It demonstrates the movement of inner peace. The movement shifts dramatically in a form of twist and turn. He combines the music with repetition routines while he dances. The author
classic nineteenth century Waltz. With heads thrown back and ribbons flowing, their movement seems light and fully of energy, yet the image still portrays a sense of finesse and refinement. The young woman’s hair is neatly pulled back in an updo while the male’s hair is carefully combed and controlled. Additionally, their arms are precisely placed while their legs and motions are in perfect unison. Both thin framed, they illustrate a sense of whimsy and attractiveness. Although the artist was sure to portray the movement of the couple’s clothing, their outfits remain smooth and reserving. Even the distance between the dancers’ heads prevents the dance from seeming too sexually suggestive. By portraying such a composed couple, the artist implies
Also he finds his place in his daughter’s life and how he is finding where he stands in the world and in his daughter’s world. This is unique for the father to show so much compassion because not all fathers can be like this and care so much. Along with this, we notice some imagery and metaphors being use, as well as imagination. When it says “I remember I thought you looked like an angel, wrapped in pink, so soft and warm, you’ve had me wrapped around your finger, Since the day you were born”, also “Chase your dreams but always know The road that will lead you home again”, both showing imagery and imagination because you are imaging a father holding his daughter is his arms looking at her. Along with this, you see her growing and moving on by seeing that if anything happens, home will still be home at her father’s house. We
In Act III Scene I of his opera Pelléas et Mélisande, Claude Debussy employs methods of voice leading by step and tritone, several repetitive and stressed motives, and an overarching transition throughout the scene from E minor to E major, overall displaying the themes of innocence, lust, desire, and betrayal. The overarching voicing leading through the scene takes us from E minor to E major, by stepping down to the middle goal of C in measure 105, and then steps up to return to E in measure 180. Noting the significance of this movement, one should notice what aspects of the text are highlighted by stepping to a newly stressed note area.
In the textbook, The Enjoyment of Music, it states that Berlioz “dreams he has killed his beloved, that he has been condemned to die and is being led to the scaffold. . . . At the very end the fixed idea reappears for an instant, like a last thought of love interrupted by the fall of the blade” (234). He makes it an intense story by introducing the deet fixe right before the fall of the blade and the “ba-dump, ba-dump” after it. The tempo and rhythm is surprisingly fast as we get to the section his beloved get decapitated. The form of this movement is binary form because of its two distinct themes that have repetition. Theme A – the first theme – is “an energetic, downward minor scale, played by low strings, then violins” (Forney et. Machilis 233). On the contrary, theme B is more a marching tune which is very different from the first theme heard. This symphony does an incredible job at making this symphony
The shepherd’s simplicity is revealed through his depiction of the romantic scene through the use of the pastoral landscape in “The Passionate Shepherd to His Love." The shepherd invites his love to sit with him on the rocks, where they would watch the “shepherds feed their flocks/ by shallow rivers, to whose falls/ melodious birds sing madrigals” (6 – 8). In this scene, the season is of spring, with young, fresh land, bright and sunny weather, singing birds, and gentle rivers. The narrator's “aa, bb” rhyming scheme suggests a uniformity that he expects the weather to follow: the narrator here believes that the weather would always remain this well for he and his love to enjoy. The rather consistent stressing pattern in lines seven and eight ( { stressed, stressed|| un, u...
The gentle contrast between the voice and piano accompaniment creates a subtle tension that underlies the piece and emphasizes the dichotomy and separation of the sky and the earth throughout the poem. While they are detached and dissimilar, the melodies lean into each other and long to come together. There is a yearning to join, intertwine, and expand into each other.
One thing that is noticeable of all three scenes, is that they are mainly seem from the perspective of the puritans. Therefore, since the scenes are in terms of the puritans’ perspectives,
Before I look at scene 3 it is important to look at the first scene of
The author uses symbolism as well in this story to support the theme. Firstly, the author uses a closed door as a symbol of separator. The closed door separated her from her sister and her friend. She is free from the surroundings. Although she "wept at once" (69) after her husband's unfortunate, things are changing now. "The open window, a comfortable, roomy armchair" (69) reveals that Louise's true feeling. In the following paragraph, Chopin uses "blue sky" (69) as a sign of hope; twittering "sparrows" (69) as a sign of happiness. The reader can confirm that her husband's death is only a temporary hurdle and she recovers quickly from the grief. Now she looks hopefully to the future, future of independent and well deserved freedom.
As the couple waits between two destinations, Barcelona and Madrid, they are trapped in limbo "between two lines of rail in the sun"(142). The station, placed between the two lines of rails, suggest the two directions the couple may go - toward Madrid and the abortion or away from Madrid and to a family scenario. The landscape describes the conflict, both barren and fruitful. Alongside of one rail line long, white hills stretch across the horizon, the country before them "brown and dry" (143). In stark contrast to the desolate landscape of the hills, the other flank is lush and green, with "fields of grain and trees [running] along the banks of the Ebro" (145). This scenic dichotomy comes to embody the girl's sentiments regarding the abortion: the hills are barren, representing her life if she submits to her partners expressed desires and goes through with the abortion; while th...
In the stanza “On cold trains and windy platforms will sit very straight at the edge of his seat while the shadows like long fingers over the haystacks that sweep past keep shocking him because he is riding backwards”. This stanza represents that this was a hard time in her father’s life and him sitting on the edge of his seat represents him being on the last stages of his life because it shows him being close to death. The shadows like long fingers indicate that many obstacles have come in his life but death is also approaching him. The remaining lines shows that his life is basically declining backwards while he can only watch it take place. Moving on, the haystacks represent memories about him which he finds difficult to remember. This results in him being scared because he is unable to treasure
Mamzelle Aurlie continues her thought process by presenting how she sobbed like a man and not like a woman because her sobs were loud and they shredded her soul and spirit one step at a time. When the author includes this detail into the end of the story to wrap her piece up, I feel very sympathetic and sorry for Mamzelle Aurlie to see that she finally had importance in her life to make her feel appreciated and loved but the loss of the children in her home made every little aspect of her life empty and meaningless. Also, the part where Mamzelle Aurlie’s soul is ripped to shreds makes an image in my mind of how her mind and heart seem so useless in her head. This heavy wordplay leaves a negative and brutal consonance in the tone and it magnifies the real amount of pain that is actually felt by Mamzelle Aurlie by a ton. However, the statement reaches to my heart and I can feel the pain that she feels by losing the very things that gave her happiness and hope for a better life for herself and them. Reading these last few thoughts that Chopin had used to end her writing made me sorrow for Mamzelle Aurlie even more and it has made me appreciate the love and spirit that my household