Hector Berlioz Essays - Symphonie Fantastique, Music, Cyclic Form

Hector Berlioz 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 Sabbath. He imagines himself at a witch's Sabbath surround by ghastly spirits who have gathered for his funeral. The frightful sounds of groans, shrieks, and shrill laughter echo in his ears. Then, suddenly again the Idee fixe appears. It is his beloved. But the familiar Idee fixe is no longer the reserved and noble melody of the prior movements. The Idee fixe has now taken on new form and has become vulgar and grotesque. She has come to this diabolical orgy. The witches greet her with howling joy and she joins them in the demonic dance; Bells toll for the Dead. Listening Guide 25 is the 4th movement, March To the Scaffold: The diabolical march is in minor and the Idee fixe is heard in the last part of this movement. The clarinet is the instrument that represents the Idee fixe and at the very end it is cut off by a grievous fortissimo chord and then ends in a hadean quintessence. Structure The medium is a large orchestra, (flute, piccolo, 2 clarinets, 4 french horns, 4 bassoons, 2 trumpets, 2 cornets, 3 trombones, 2 ophideiodes, 2 timpani, bass drum, bells, strings). The form is loose tenary (A-B-A). The movement is in 6 sections. It begins with the introduction of ominous drumbeats and muted brass. The introduction ends with an exploding crescendo of a base drum which immediately introduces the 2nd section of theme A of low strings in a slow cautious tempo, and is picked up by violins. Theme B brass and woodwinds enter and picks up the tempo of diabolical march tune. The opening section is then repeated. The 3rd or mid section is the development section. The tenary (B-A-B-A) Begins with theme B in brass, then theme A pizzicato strings, alternating again to B in Brass then Theme A. The 5th section is Theme A in full orchestra in original form, then inverted, (ascending scale). The 6th section, the melody Idee fixe in clarinet, ("a last thought of love"), in "dolce assai e passionato", followed by loud chord that cuts off melody, significant of ("the fall of the axe"). The introduction begins with the distant sound of a steady beating drum that seems to become louder. The steady beat is a march It has a serious tone with a non changing beat. The melody of the march is flat and gives a sense of impending dume. The brass bursts in on the monotone drum beat and suddenly takes over the melody and soars in an ascending sound, reaching an apex and creschendos and then subsides with low strings carrying the melody in a decending scale . There is a recapulation of this ascending and descending sound and then the viola and bassoon unassumingly enter and slowly begin to form there own quick little melody , totally unrelated to

Atomic Bomb Use essays

Atomic Bomb Use essays In 1945, the world was changed forever by the first use of the atomic bomb against civilians. This may have been the single most defining event in the twentieth century. Now, the world really could be potentially destroyed, and one false move by government officials could mean the end. This new brand of warfare was first used by the United States against the Japanese in an effort to end the war between the two nations. Yet was the use of this bomb really necessary? This question alone raises several other questions, and this essay will deal with a few specific ones, using Gar Alperovitzs novel The Decision to Use the Atomic Bomb as a source. First, why did the United States drop the atomic bomb on the residents of two Japanese cities? According to proponents of the bomb, the reason was to end the war against the Japanese. However, Japan was already in deep trouble as it was. The country was running out of agricultural and industrial power by 1945, and its leaders were starting to accept the reality that they would not be able to win the war. On page 334, Aplerovitz notes that Henry H. Arnold stated in his memoirs that it always appeared to us, atomic bomb or no atomic bomb, the Japanese were already on the verge of collapse. One exception to Japanese surrender was that they wanted to keep their form of government, but the fact that the United States was not clear on the terms of surrender delayed the whole process. All these factors seem to show that Japan would probably have surrendered without the use of the bomb. In fact, several advisors to Truman have said that a mere demonstration of the bomb would probably have done the trick. L. Louis Strauss, the soon to be president of the Atomic Energy Commission, proposed that, the weapon should be demonstrated over some area accessible to the Japanese observers, where its effects would be dramatic (Alperovitz, pg. 332). Yet Truman still decid...