Hector Berlioz's Symphonie Fantastique Essay

The symphony is in four very powerful and entertaining movements. The first movement begins in the pianissimo tone with the strings section, but quickly enters the fortissimo tone with the introduction of the woodwind, brass and percussion sections. The dynamics of the musical melody varies throughout the movement moving from crescendo to decrescendo modes. The first movement reminds you of a raging storm from soft blowing winds to thunder and lighting. The audience is mesmerized by this first movement of the sonata.

The development of symphonic music during the Classical Period is greatly responsible for shaping today’s orchestral music landscape. Beethoven’s Fifth Symphony is often considered to be the cornerstone of the symphony genre evolution. While his grand gem is somewhat revolutionary and unique to a certain extent, such as ‘expanding the brass section in the final movement.’ [1] On the other hand Berlioz’s Symphonie Fantastique is filled with minor references to Beethoven’s Fifth Symphony

The author of this book is Juan Jose Arevalo and he was a professor of philosophy who became Guatemala’s first democratically elected president in 1944. He was elected after a popular uprising against the United States, backed by Dictator Jorge Ubico, which began the Guatemalan Revolution. He stayed in office until 1951 and had survived 15 coup attempts. During his presidency he had passed several social reform policies that included an increase in minimum wage and a series of literacy programs. He also directed and ministered the drafting of a new constitution in 1945. Arevalo focused much on the need of advancement with individuals and communities. After he was exiled as being a university professor he went back to Guatemala to help the new post-Ubico government, focusing on the areas of social security and drafting of a new constitution. He developed the term “spiritual socialism”, in which he defined his political philosophy as. The philosophy was pointed towards the moral development of Guatemalans with the intent to liberate man psychologically. Arevalo strongly believed that this theoretical doctrine was vital to the making of a progressive and peaceful Guatemalan society. He felt in order to create an ideal society it was necessary to allow the citizens the freedom to pursue their own opinions, property, and way of life. He proclaimed that protecting the freewill of the citizens creates more support for governmental institutions, which in turn ensures the security of

Born in 1803, in the village of La Côte-Saint-André, France, Hector Berlioz produced some of the most invigorating and exciting music of the Romantic period (Holoman, 1, 6). Romanticism primarily focused on subjectivism, therefore people were concentrating more on their emotions and spirituality and less on logical explanations for the problems of humanity. Those of the Romantic period valued nature and depended upon the creativity of artists in order to gain a deeper and different outlook on the world, one that was not strictly rational. Of all the Romantic art forms, music, especially

In the essay, “Joyas Voladoras,” the author, Brian Doyle, wrote about the emotional heart and the biology of a heart. He starts the book off talking about hummingbirds’ hearts and the amazing things they can do. After talking about hummingbirds, he changes the subject to whales and how big they are and how big their hearts are. After the subject of whales, he talks about how different types of living creatures have different amounts of heart chambers and hearts and how every living thing has liquid moving inside. After talking about the heart chambers and functions, he started talking about the heart as in emotions. Doyle’s son, Liam, was born with three chambers in his heart, so he probably wrote “Joyas Voladoras” to convey that all hearts no matter how many chambers are in it, all work the same.

Social science teaches that a person’s self identity is a reflection of that which other people put on the individual, in other words a person’s behavior steams more from what they see of themselves from someone else’s perspective and less from how they see themselves. In the case of the Mexicans, this concept holds true. From that, which has been studied thus far this semester, Mexicans/ Mexican Americans are good examples of this concept. Their sorted past has resulted in a new kind of Mexican American and perhaps a new kind of Mexican. Certainly the Mexicans American’s experience in this country has brought about some changes from the first generation of Mexicans who were born in this country to those who

Herman Melville 's Benito Cereno (1856) and Frederick Douglass 's The Heroic Slave (1852) provide social commentary on the evils, injustices and dehumanizing effects of slavery. Melville 's "Babo" and Douglass 's "Madison Washington" are similar in motive—the pursuit of liberty and destruction of slavery. The ways in which these characters are perceived, however, differ and stem directly from the author 's construction of the narrative. By examining the slave uprisings within the both texts, it is clear that Melville creates a story that depicts “Babo’s” rebellion as maliciously calculated, while Douglass paints the portrait of Madison 's resistance as rightfully deserved and necessary. Douglass 's novel is overtly an abolitionist narrative, unlike Melville’s Benito Cereno, which is quite ambiguous in its didactic message. Critic, William L. Andrews, notes that “The Heroic Slave uses the techniques of fiction to remodel the raw materials of history into a more meaningful and usable truth ” (Andrews 11). There is transparency in Douglass 's goal for the novel—to expose and unveil the atrocities of slavery (separation of families, murder of loved ones, perpetual subjectivity, etc.) and denounce preconceived notions of black inferiority. Madison Washington is a slave, but also a human being—not

Drive of rhythm sets the motion of the piece, whether or not it will be slow or fast, moving from strong to weak beats, creating a pulse. Finally, the expression of form is the full statement of the piece. It is the contrast between high points and pulling back, frantic moments of fury versus subdued passages. Combined, these details will be used to analyze the musical message the artists, Hilary Hahn and Jascha Heifetz are trying to convey to their listeners.

Brian Doyle's Joyas Voladoras first appeared in The American Scholar in 2004 and was later selected for Best American Essays in 2005. Doyle’s intended audience is the general population, though his writing style attracts both the logical reader and the hopeless romantics who seek metaphors pointing to love in any way. The beginning of the essay provides insight to general information about the hummingbird, which holds the smallest, capable, and fragile heart in the world. He then explains the significance of the blue whale’s heart with comparisons, indicating that the blue whale holds a heart the size of a room. He ends his essay by expressing that a human’s heart is always closed due to the fear of it breaking, remaining constantly

Symphonie Fantastique composed in 1845, by Hector Berlioz (1803–1869), is a program symphony; a five movement orchestral work that tells the story described by the CSO (2013) “as a purely musical melodrama”, a colorful illustration of the life of an artist, “replete with unrequited love, witches, guillotines and colorful, opium-induced hallucinations”. Its composer, Hector Berlioz at the age of twenty-seven wrote “Symphonie Fantastique both to explore German Romanticism and to give his hometown of Paris a symphony of its own; something not yet native to this city of operas and ballets” (CSO, 2013). Berlioz’s symphonic back ground in the operatic overture alludes to his program notes presented “as the spoken text of an opera”. The memorable dramatic flair of Symphonie Fantastique is understood to be one of the most well-known pieces of program music in his repertoire and is suggested that the story is a self-portrait of its composer, Hector Berlioz.

Spain during the 16th century has been described as a time of oppression, a time of exploitation of the subordinate class. For example, in the text of The Life of Lazarillo De Tormes a gluttonist priest offers Lazarillo scraps of an Eucharist bread, that was nibbled by mice. The priest tells Lazaro to take the bread, stating “There, eat that. The mouse is a clean animal.” This shows the how the higher class sees the lower class, it shows how they believe in offerings coming from them should be taken as a gift, even if a literal rodent has tampered with it. Most who could live during this this time usually were those who held high levels of intelligence and were also devious. Due to this, Lazarillo, being a man who holds the fore told

“The symphony describes his obsession and dreams, tantrums and moments of tenderness, and  visions of suicide and murder, ecstasy and despair.” The symphony does have a program because there's five different movements, and they all tie into his journey to pursue the woman from the shakespeare play. Symphonie Fantastique does not have lyrics, however they are not necessary because the story is told through the emotions and the music in the piece.  It is a romantic symphony because the form is first movement as sonata allegro form, second movement as thematic development, third movement as minuet trio, and fourth movement as sonata

When the performance will upcoming, no one walk around, no one to eat and chat, no one use the cell phones. On the stage, performers were wearing black clothes and shoes. They debug with instruments by themselves, or sit quietly wait for the show to start. And then the conductor makes a short description about the performance. As for this concert paper I would like to focus on Symphony No. 1 in C Major. It was Beethoven 's first symphony genre works, and linking the romantic and classical styles. It built in 1800. The main melody is based on the flute and oboe. The first movement is Adagio molto - Allegro con brio. Beginning with slow teases. The first theme of a dance, vice theme is beautiful oboe and flute repartee. After the beginning, the melody change to powerful and variation. It only a little of melody do not have harmony. In general, violin and viola play first, and then it will add flute and oboe. The second movement is Andante cantabile con moto. It is built around a simple theme of the sonata allegro musical form of development and expansion. There are a lot of decorations in main theme. The third

Symphony No. 41 is one of the last symphonies Mozart composed. Symphony No. 41 was the largest and most complex of his symphonies. The symphony is regarded by many critics as one of the greatest symphonies in classical music. The grand scale of the symphony along with the energy of the piece are what the symphony is known for. It is believed that Mozart was never able to hear this symphony because he passed before it could be performed. The work is nicknamed the Jupiter Symphony. However, the nickname did not stem from Mozart. It comes from a German musician Johann Peter Saloman. It received the nickname because of the emotional style of the piece that is created from the giant instrumentation. It represents the roman god Jupiter and his great power. The first movement of the symphony follows sonata form, but deviates from it by including more modulations.

The general plan of Tchaikovsky’s symphonies includes a very 'pessimistic' first movement, a sad, peaceful second movement, an allegro movement (often in dance form) and a fourth movement full of vigor.  His 6th symphony, the Pathetique, is an exception.  The themes are broad, decorative, and striking. The orchestration is rich - but without any attempt at spectacular effects.  The last movement is slow and mournful, and recent research reveals the reason.  The Pathetique was only partly finished when news spread of a homosexual 'encounter' Tchaikovsky had with a fellow student. Some believe that the composer finished the symphony as a farewell to life. The scoring is for the standard symphonic orchestra with winds, brass, strings, timpani, and other percussion instruments. It was premiered in St. Petersburg with Tchaikovsky himself leading the orchestra.