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 the grander melody of the brass that maintains the deeper, grander, slower background. At the mid-section of this movement , it begins to take on an abstract quality. The theme becomes more developed here and Belois employs the use of oppisite extremes to relay the moods of a manic-depressive state. He picks up the tempo in full ochrestra in what seems to be allegro in a grand triumphant march and then adds a disjunct touch by sudden ly slowing the tempo down in low strings to a delilerate depressive crawl. A dissonance of the melody is heard when he adds a sczophrantic touch by adding the bizaar violin plucks. In the last section at the closing, the strings pick up at a frantic pace giving the feeling that a new moment of anxiety 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 composers genous. He composed the music to what would be the disjunct qualities of a dream-like state. This music relates an abstrac...
