Love and Loss Examples

They danced alone from Stings ...Nothing Like The Sun

Bernsteins West Side Story
C-M Schonbergs Miss Saigon, where realism
and idealism are mercilessly juxtaposed in the context of the final
American evacuation of Saigon
Schonbergs use of the pentatonic scale alongside western rock
traits). A solo song might excitedly anticipate the approach of love
(Somethings coming) and a study of the interaction between
parts in the context of a duet allows the further exploration of the
nuances of the ways in which music portrays deepening love in
these two musicals (One Hand, One Heart, Sun and Moon, The
Last Night of the World.) Attentive listening to evaluate the
harmonic schemes, accompanimental figurations and melodic
shaping in Sondheims song writing (Not a day goes by from
Merrily We Roll Along, Sorry-Grateful from Company) is a worthy
area of further listening.

 The way in which instrumental performance can

be exploited in the portrayal of love and loss
may be explored in a study of representative film
scores. Yo-Yo Mas cello contribution to Tan Duns
film score Crouching Tiger, Hidden Dragon is
especially poignant in the final scenes, when it
becomes clear that any hope that love might
flower is fading fast. The delicate scoring, with
its carefully crafted melodic line, is steadily
overlaid with jagged ostinati and there remains
only bleakness and desolation.

Word setting

In popular song
In film music
In world music
In Musical
Word painting expressing love and
loss -

ELLIOT SMITH - Waltz #1

A gorgeously fragile mood piece set to a waltzy 3/4 slow-dance
rhythm, the songs lyric seems to cross from melancholic
meditation of love lost into Smiths other stand-by emotional
touchpoint, defensive anger. And yet singing the songs final
lyric, I wish Id never seen your face, Smith draws out the
last word in a long note broken by several breaths.
Elliott Smiths often sad, sometimes lushly arranged folk/rock
songs, and Waltz # 1 shows why. A gorgeously fragile mood
piece set to a waltzy 3/4 slow-dance rhythm, the songs lyric
seems to cross from melancholic meditatation of love lost into
Smiths other stand-by emotional touchpoint, defensive anger.
And yet singing the songs final lyric, I wish Id never seen
your face, Smith draws out the last word in a long note broken
by several breaths.

Sting wrote They Dance Alone

when he was in Chile while he
was with The Police and saw
that the wives and mothers of
those who had disappeared
put pictures of their loved
ones on clothes and danced
with them. Unfortunately, the
song was banned in Chile.
Sting said this about the song:

This was something that I saw

when I went to Chile with the
Police. The mothers and wives
of the disappeared do this
amazing thing; they pin
photographs of their loved
ones to their clothes and go out
in groups and do this folk
dance with invisible partners in
front of the police station. Its
this incredible gesture of grief
and protest

[Verse 1]Why are there women here dancing

on their own?Why is there this sadness in their
eyes?Why are the soldiers hereTheir faces
fixed like stone?I can't see what it is that they
despise
They're dancing with the missingThey're
dancing with the deadThey dance with the
invisible onesTheir anguish is unsaidThey're
dancing with their fathersThey're dancing with
their sonsThey're dancing with their husbands
They dance alone They dance alone
It's the only form of protest they're allowedI've
seen their silent faces scream so loudIf they
were to speak these words they'd go missing
tooAnother woman on a torture table what else
can they do

[Verse 3]One day we'll

dance on their gravesOne
day we'll sing our freedom
One day we'll laugh in our
joyAnd we'll danceOne day
we'll dance on their graves
One day we'll sing our
freedomOne day we'll laugh
in our joyAnd we'll dance

https://www.youtube.com/watch?
v=Tnj6COmS4ow

 Faded introduction
Military style snare drum
Synthesized pan flute which
represents the grieving women

 How does the mood change at One

day well dance well dance on their
graves?
And at the end of the song

Other Examples

word-painting in the vocal line Use of vibrato on instruments and voice

Heavy use of cello and strings long sustained notes and chords
Melodic Phrase shape Rising and falling melodic lines to depict
emotions. High points in melody as tension points
Singers singing softly almost whispering
Use of dynamics to increase emotion
Use of major and minor chord changes
Ascending and descending to depict different emotions
Rocking piano shape
Drum ostinato patterns military, heart beat
Breaks in the music between different sections or when there is
a change in emotion or feeling, timeline
Sounds fading in and out
Use of echo and reverb
Haunting high pitched vocal lines

 Dido and Aeneas (Act I; Act III), Purcell Act I

(It is not necessary to study the Overture.)
Belinda tries to cheer Dido up in a short, lightly-accompanied song (continuo only).
Note immediately the explicit word-painting in the vocal line shake, flowing.
Without any break in the musical momentum, her message is taken up by a mainly
homophonic chorus (now doubled by the orchestra). In a grander vocal style as
befits her dignified status, Dido expresses her anguish but without revealing its
cause. The word-painting here expresses feelings (ah, prest with torment,
languish). The four-bar ground bass
is inexorable [to what extent does its character contribute to the expression of the
text?]. The vocal line rides over the bass, never coinciding cadentially. This
substantial structure includes repetitions and two statements of the bass in the
dominant [where is the climax of the aria?]. The orchestra only enters after Dido
has finished, with two harmonised statements of the bass [what does their music
contribute to
the emotional tension?] in a concluding ritornello which connects directly with
Belindas next recitative. She exposes Didos secret. In the style of Greek drama,
the chorus take up the sentiment expressed by one of them that politically such a
marriage would be desirable. Egged on by Belinda and the chorus

Berlioz
A French romantic
composer.
Compositions reflect his
deeply emotional nature
and his passion for life and
love.

Features of Romanticism
Emotionalism
Self-Expression
Individuality
Nationalism
Programme Music
Large orchestra
Expanded forms, dynamic
ranges etc

Berlioz the composer

Innovative.
Flexible approach to form and
structure.
Aware of possibilities of
drama and expression.
A leading authority in
orchestration, tone-colours and
timbre.

The Symphony
Grew out of fast-slow-fast Italian
overture.
Established as a 4-movement form in
Classical period by composers such as
Haydn & Mozart.
Expanded further by Beethoven,
becoming dramatic & expressive.
Developed in the Romantic period
into the programme symphony, often
with 5 movements.

Symphonie
Fantastique
5 movements
Programmatic
Innovative
Each movement titled and
telling story of Berlioz
dreams with regard to his
infatuation with Harriet
Smithson.
Movements are threaded
together by the idee fixe - a

The Programme
The story is a window which
invites the listener into the work.
Be familiar with the images
Berlioz is portraying in each
movement.
Be able to visualise the images
in the music of movements 2 & 4.
This leads to easier examination
and analysis of the required
movements.

Passionate

hallucinogenic

jaw-dropping

delirious

obsessed

revolutionary
unprecedented

radical

ambitous

weird

Film music composers often use

leitmotifs to help build a sense of
continuity. A leitmotif is a recurring
musical idea (a melody, chord
sequence, rhythm or a combination of
these) which is associated with a
particular idea, character or place.
Famous Movie Leitmotifs

Berliozs Idee fixe

Notion arose in France in the early 1800s
In Music traceable to Berliozs Symphonie
Fatastique
Unlike most symphonies of the time,
whose movements were built from distinct
themes, the Symphonie Fatastique was
marked by a persistent theme the Idee
fixe, which surfaced in various forms in all
five movements of the work

Berliozs Idee fixe

Seeing how Berlioz treats his theme

throughout the symphony can help us
unravel just what he thought of her.
Listen to the theme as it first appears. How does it
firstdoes
characterize
Harriet?
How
the music
describe the anticipation that
Berlioz feels upon seeing her?

http://www.keepingscore.org/interacti
ve/pages/berlioz/score-idee-fixe

 Keeping Score - http://www.pbs.org/keepingscore/videoberlioz.html

http://www.rpo.org/UserFiles/Link/Berlioz.pdf
http://www.keepingscore.org/interactive/pages/berlioz/score-idee
fixe
https://www.scoilnet.ie/uploads/resources/12929/12566.pdf
http://www.theguardian.com/music/tomserviceblog/2014/aug/19
/symphony-guide-hector-berliozs-symphonie-fantastique
Ipad app the orchestra
http://issuu.com/wrightstuffmusic/docs/idee_fixe_vs_leitmotifs
http://www.keepingscore.org/interactive/pages/berlioz/score-ball
Think about the ways in which the music invokes the scenes and
emotions described by Berlioz

Symphonie Fantastique (Mvts. II, III, IV), Berlioz

In contrast to the strong narratives of the two operas, the music of these three
movements represents a composers imagination memories, longings, dreams
(and nightmares).
The artist in the symphonys subtitle, Episode in the life of an artist, is a
musician, and it is not over-fanciful to interpret this figure as Berlioz himself.
Candidates will need to be provided with a translation of his programme and told
as much of the biographical background that provided the stimulus for its
composition as teachers consider appropriate.
The context is extensively explored in the Norton Critical Score of the work (ed.
Cone, Edward T., 1971), which also contains very clear translations of the
programme and useful discussions of each movement.
The notes that follow here are not designed to be comprehensive commentaries
but to suggest some features of the music that might prompt exercises to develop
aural perception and understanding of relationships between specific techniques
and their effects.
Close familiarity with the rich variety of the orchestral scoring may also help
candidates to recognise ways in which Verdis accompaniment in Otello also
contributes much more to the drama than mere background support for the voices.

Movement II: Un bal

The composers programme
describes a ball at which he catches
sight of his beloved.
The artist finds himself in the most
varied situations in the midst of
the tumult of a party, in the
peaceful contemplation of the
beauties of nature; but everywhere,
in town, in the country, the beloved
image appears before him and
disturbs his mind

Movement II: Un bal

Introduction 0:00-0:43
Before the ball gets under way, an
anticipatory mood is suggested. What
sort of anticipation?
How do we hear it? Something grows
is it only the excitement and bustle of
people arriving for a party? Or perhaps
the composers own emotions? Both?
How does it grow?

Movement II: Un bal

Principal waltz theme
Dynamics: there is a sustained crescendo from the
beginning pp to f
Key: it begins in the tonic minor mode shifting harmonies
constantly until the f tonic major chord lights up the scene
at bar 30
Rising pitch: the ascending arpeggio figure played by cellos
and basses moves steadily upwards in a sequence (two
harps echo this in shorter note values)
Texture: trembling upper strings (tremolo) throughout until
bar 32, - tutti (i.e. including full woodwind and brass there
is no percussion in this movement) at bar 30 to emphasize
the end
The punctuating perfect cadence that announces the start
of the dance (the curtain goes up on a glittering scene?)

Movement II: Un bal

The movement is a brisk waltz (valse) of the sort that was
fashionable in nineteenth-century Paris.
In triple time, its principal theme has, when first heard, a
conventional oom-pah-pah accompaniment.
There is a great deal of subtlety in the detail from which
much may be learned about compositional processes in
general. What Berlioz actually does with his orchestra
can be established by careful listening. The precise effect
of any technique, though, is a matter of interpretation, to
be teased out and argued over in discussion. Some
suggestions for such discussion and learning are made
below (the interpretations, are, of course, tentative):

Structure of Un Bal
Task - Identify the main markers of this
movement
Listen out for the different sections and write
down their timings
Locate the entrances of the idee fix and the
waltz theme
Describe what is happening in each section
in terms of orchestration (melody and
accompaniment), texture, dynamics, tempo

Structure of Un Bal
Main markers: Using Bernstein
Introduction - Bars 136 0:00-0:40
Principal waltz theme - Bar 38 0:43
Ascending and descending figures violin sings the tune and
harps have a glittering accompaniment
Waltz theme repeated 1:47
Idee fixe - Bar 120 - 2:17 Combined with the waltz theme
Melody played by solo flute, oboe and clarinet
Waltz theme Bar 175 3:20 horns join in the rhythm,
triplet in the clarinet and flute pattern modified
Idee fixe Bar 302 5:32 This time on its own played by
solo clarinet
Coda Bar 320 6:03

Section

Timi
ng

Musical Features

Introduction

0:00

Crescendo pp to f, Rising pitch: the ascending arpeggio

figure played by cellos and basses moves steadily upwards in a
sequence , key change from minor to major at the climax
Texture: trembling upper strings (tremolo) and then Tutti to
emphasize the ending with a perfect cadence. Shimmering
strings
Harps play glissando becoming more frequent and louder

Principal waltz
theme

0:43

Part 1, 0:43 Part 2, 1:05 Part 3 1:18. Each theme is

immediately preceded by its own 2-bar introduction
these intros are a feature of this movement.. In 3/8 time.
Starts with strings only with a slight slow down at 0:56. Oom pah
pah accompaniment. Theme is followed by ascending figures in
flutes and clarinets then followed by descending passages in the
strings

Principal waltz
theme
repeated

1.47

As the theme repeats, and continues into new figures the texture
builds up: , woodwind join in and the string texture becomes
more complex. The momentum increases (no slowing down this
time) A sudden moment of shock, dynamic change and
descending strings leads us into

Idee fixe

2:17

Combined with the waltz theme. Melody played by solo flute and
oboe In 3/8 time. The yearning figure is played higher and higher
until it dies away. A fleeting vision of her in the tumult of the
ball

Waltz Theme

3:20

It becomes more richly orchestrated and more dynamic and

animated as the tempo increases. Triplet in the clarinet and flute
pattern modified and joined by the cornet. The music builds as if
it was going to end but then

Movement 2
Un Bal The Ball
Imagine the ballroom scene.
An elegant waltz.
Ternary form.
Based on a single extended
theme which sub-divides into 3
distinct parts.
Includes two appearances of
the Ide Fixe.

Un Bal
Summary of thematic
material

Theme 1 - Bars 38 54.

Theme 2 Bars 56 66.
Theme 3 Bars 68 93.
Each theme is immediately
preceded by its own 2-bar
introduction these intros are
a feature of this movement.
Ide fixe appears at (1) Bar
120 and (2) at Bar 302.

Un Bal
Over-view of form
Introduction Bars 1 36.
A
Themes presented with their own unique
intros. Bars 36 115. A major.
B
Middle section contains Ide fixe presented
by Flute and oboe. Bars 116 174. F major.
A
Return of section A richer texture. Bars
175 256 A major.
Coda Contains lonesome reference to Ide
fixe from clarinet Bars 256 368 A major.

Movement II: Un bal

Principal waltz theme
An understated beginning: strings only, quietly; a
swirling theme, almost classically balanced in its
phrasing; a slight (lingering?) slowing down at bars
4950.
As the theme repeats, and continues into new figures
the texture builds up: harps return at bar 54,
woodwind join in at bar 62.
The momentum increases (no slowing down the
second time at bars 1056), the string texture
becomes more complex (cellos imitating 1st violins at
two beats distance from bar 78 onwards).

Movement II: Un bal

Principal waltz theme

The oom-pah-pah is shared between harps and

woodwind from bar 94, giving an off-beat or slightly
less stable feel (as though the dancers are becoming
less restrained, more animated, up on their toes,
perhaps?).
Candidates might be encouraged to listen carefully to
subsequent appearances of this theme, noting other
similarities and differences in the scoring, e.g. at bar
175 it is doubled an octave lower by violas, enriching
the tone colour of the strings; it is taken up by the
woodwind at bar 233 and, by bar 253, woodwind and
1st violins are playing it an octave higher.

 Idee fixe
It is not necessary to discuss the composers use of this in any
analytic terms. Candidates need only know that it represents the
woman he loves, be able to recognise its presence aurally and
appreciate its significance when it returns. They may find it
helpful to hear, at least once, its initial presentation in the first
movement, and the grotesque, distorted version in the last.
Interpretations of the two appearances in this movement are
usually differentiated along such lines as: first, a fleeting vision
of her in the tumult of the ball (wisps of the waltz tune are
hinted at in the background and gradually taken up more
obviously by the violas at bar 136); second, when all movement
suddenly stops and the theme is played almost unaccompanied
as well as slightly slower, a full sighting she is present before
him.

 Coda
The second sighting of the beloved interrupts a long tutti
passage that had, from bar 256 onwards, where Berlioz instructs
animez, sounded increasingly like a grand closing section for
the dance. After the second appearance of the idee fixe the
pace resumes more steadily at the original tempo, but con
fuoco; after eighteen bars, Berlioz again says animez, then,
after the next sixteen, serrez (meaning push on even more).
The scoring is also very full and busy. Can candidates hear the
horns descending scale in bars 338345? Spurred on by the
frantic opening figure of the waltz theme, now in perpetual
motion and rising in pitch from bar 338, the dancers spin faster
and faster. Might this wild excitement also reflect the faster
beating of the composers own heart as his passion increases?

Movement III: Scene aux

champs Scene in the
fields

Musical heart of the symphony (5

movements)
The pivotal point in the whole drama
Set in reality like the other movements
this time in the countryside. The
artist is relaxed and calm
He hears two piping shepherds across
a vast alpine valley

Movement III: Scene aux

champs Scene in the
fields

Watch the first 7 minutes of the YouTube

clip of the analysis of Movement III
What musical devices does Berlioz use
to
give the feeling that the story is now
set in the countryside and the sense
of space and perspective that exists?
depict the two shepherds piping?

Movement III: Scene aux

champs Scene in the
fields
Call and response between cor anglais and off-stage oboe

represents two piping shepherds communicating across an

alpine valley
What might the strange viola tremolos suggest?
Peaceful mood and feeling of space created (especially by the
use of the off-stage oboe) which creates a sense of distance
Use of F major (a key which reflects calm and tranquility
Slow tempo - Adagio
The quiet, reflective mood lends itself to the suggestion that
the composer is relaxed and daydreaming.
Yearning quality of the pastoral theme repeated higher at
3.00-3.20 and 4.12-4:38 before eventually falling away
Birdsong at 6:22-7.00 evokes the country setting

Program Notes Movement

3

Finding himself one evening in the country, he hears in the

distance two shepherds piping a ranz des vaches in dialogue.
This pastoral duet, the scenery, the quiet rustling of the trees
gently brushed by the wind, the hopes he has recently found
some reason to entertainall concur in affording his heart an
unaccustomed calm, and in giving a more cheerful color to his
ideas. He reflects upon his isolation: he hopes that his
loneliness will soon be over. But what if she were deceiving
him!This mingling of hope and fear, these ideas of
happiness disturbed by black presentiments, form the subject
of the Adagio. At the end one of the shepherds again takes up
A Ranz
des Vaches
or Kuhreihen is a
the ranz des vaches: the other
no longer
replies.Distant
simple melody traditionally played on
sound of thunderlonelinesssilence.

the horn by the Swiss Alpine

herdsmen as they drove their cattle
to or from the pasture. The Kuhreihen
was linked to the Swiss nostalgia and
Homesickness

Movement III: Scene aux

champs Scene in the
fields
From 7:15 the mood begins to change and grows darker
Abrupt change of mood disturbs the tranquillity as thoughts of the
beloved enter the composers mind (idee fixe) at 8:06 played on
the flute and oboe
idee fix combined with the sigh and agitated basses and falling
scales
At 9.11 considerable change of mood (Listen how Berlioz has
But what if she were deceiving him?
From 7:53-9.40 Listen to this section and highlight the key
changes of mood in the music? What is the state of mind of the
artist now?
Jealous rages when the artist sees his beloved with someone else?
Berlioz uses the whole orchestra
Angry tremolo from the bassoons and lower strings

Scene in the fields movie

trailer
Listen to the section of music from Movement III
Draw a timeline from 0.00-1.44
LISTEN 1
Imagine this was a movie trailer, identify the key action or
cue points where you think something happens or changes
LISTEN 2
You know the background to the story so now be creative and
think what could be happening at these action points or cues
LISTEN 3
Describe musically what is happening that led you to think
about the action you described above
Present your work to the other group

Psycho versus Berlioz

Scene in the fields Scene

from a film
Tremolo expresses unrest, excitement
and terror
Use of diminished 7th chords
Contrasting high pitched melody against
rapid notes in the bass line
Growling bass line in low strings
Use of diminished chords
Short staccato f chords
Off beat chords

Scene in the fields Final

Scene
https://www.youtube.com/watch?v=
psF5waVB5dY
Listen from 14:37 Outro
Spot the differences from the Intro

Movement IV - Marche au
Supplice March to the
Scaffold

The fourth movement takes on a nightmarish

character: having taken opium, the young
artist dreams that he has killed his true love
and is about to be executed for his crime.
This movement thus depicts the artists
forced march to the scaffold.

Movement IV - Marche au
Supplice March to the
Scaffold

Based on two very distinct and

distinctive themes
Idee fixe appears, as it does in every
movement, but this time only once

Movement IV - Marche au
Supplice March to the
Scaffold

Introduction 0:00-0:31
G minor
insistent, very controlled beating of the
drums; we are waiting for something
Evokes impending doom low double bass
chords
There is an excited buzz as the distant sounds
of an approaching military band are heard.
The horns repeat the first two bars of what will
eventually be the full march tune.

Movement IV - Marche au
Supplice March to the
Scaffold

Theme 1 Descending theme

2-octave span
G minor
Fierce theme spirals relentlessly downward
pulling our hero with it
It is heard 5 times here - consider the
changes in instrumentation and treatment
of the theme in each rendition

Movement IV - Marche au
Supplice March to the
Scaffold

Theme 1 Descending theme

1. Cellos and double basses play theme
2. Counter melody in bassoons. Higher cellos
3. Octave theme now in 1 st and 2nd violins,
stactatto counter melody in the lower
strings, dramatic chord at the end
4. Stacatto counter melody continues in the
strings, 2 octave theme again in the violins,
timpani rolls and chords at the end
5. Quaver idea moves to the bassons

Movement IV - Marche au
Supplice March to the
Scaffold

Theme 2 March Theme

March Theme
4/4
Bb Major
Syncopated and strong, forward-moving rhythms - The
dotted rhythm of its second and third bars will supply
one of the many wild figures used later in the movement
very full brass, woodwind and percussion sections (no
strings at this point)
Transformation of the pastoral theme from Movement 3
Triumphant march which takes our hero to the scaffold
This is typical of military band music often heard
outdoors in France in the nineteenth century

Movement IV - Marche au
Supplice March to the
Scaffold
Listen to section 5:04 Development and Coda section
New texture contributes to the frenzy? How does the
treatment of the themes contribute to the suggesting the
mood of the crowd - and the man about to be executed- is
close to being out of control?
Swirling violins
Fortissimo to pianissimo
Dramatic chords
Descending theme inverted
Descending scale
Juxtaposed chords a tritone (6 semitones) apart the
Devils interval!

Movement IV - Marche au
Supplice March to the
Scaffold

Listen to section 5:04

Development and Coda section
How does the new texture and the
treatment of the themes contribute to
the suggesting the mood of the crowd
- and the man about to be executedis close to being out of control?

Movement IV - Marche au
Supplice March to the
Scaffold

Coda
New texture contributes to the frenzy?
Swirling violins
Fortissimo to pianissimo
Dramatic chords
Descending theme inverted
It will later be the subject of fragmentation, rhythmic
alterations and changes of instrumentation. (How far
might these techniques contribute to suggesting later
that the mood of the crowd and the man about to be
executed - is close to being out of control?) or
contribute to the frenzy

Movement IV - Marche au
Supplice March to the
Scaffold

Listen to section 4:26 to

Movement IV March to the

Scaffold
The tumultuous treatment of the scalic theme stops abruptly
(the crowd is hushed?). In the brief silence, the first phrase
only of the idee fixe is played (dolce assai e appassionato as
sweetly and passionately as possible) by solo, unaccompanied
clarinet distant and removed
Theidee fixe appears only once, as a sudden reminiscence just
before the guillotine strikes the young mans head right off and
the movement comes to a perversely joyous conclusion
The only personal note is the fleeting image of the beloved
that passes before the composers eyes at the last moment
before the guillotine falls a truncated version of the idee fixe followed by the macabre dull thud of falling pizzicatos.
final (major) chords triumphant rejoicing (the cheers of the
crowd?) at the conclusion of the ritual?

Marche au Supplice
Summary of form.

Introduction
Theme 1 Descending Theme
Theme 2 March Theme
Intro, Theme 1 and 2 are repeated in full.
Transition combines March & Descending
themes
Development
Coda vibrant & exciting. Bars 140 178.
Contains reference to Ide Fixe which
appears on clarinet alone at Bar 164.
Movement ends in G major.

Second Movement - A Ball

This movement is a waltz. The young lover is at a dance, the ultimate
event during the 1800's. The ball was always the most important
event that could be held. The idee fixe interupts the theme of the ball
twice to represent the young lovers fascination over his beloved.
Third Movement - Scene in the Fields
The use of English horn and oboe give the movement a pastoral feel.
The lover is in a field (represents Berlioz when he use to visit his
grandparents). He hears shepards in the background piping a
beautiful melody. He dreams of his beloved. The idee fixe is heard
several times however, the pastoral feel is lost when the timpani
beings signifying a thunder storm. It starts of softly demonstrating
that the storm is far away but the music gets louder representing the
storm moving closer and closer.
Fourth Movement - March to the Scaffold
Fifth Movement - Witches Sabbath
The lover sees his own funeral. There are witches, sorcerers, and
trolls. The music is much like a Requiem. the idee fixe is transformed
to and sounds devilish and represents his beloved mocking him. The
Dies irae is heard in the low strings.

 Orchestration
Candidates may well hear some resonances of Beethoven, whose
music Berlioz admired greatly.
The younger mans own originality, however, lay very much in the
field of orchestration, in which he was extremely innovative. He
called for an extraordinarily large orchestra and scored very
precisely to achieve exactly the effects he wanted.
Candidates are not expected to study a score themselves but it
would be helpful for them to be told some of the composers
instructions (some have already been indicated above).
For instance, at the opening of this movement he tells the horns to
pitch their notes by the use of their lips, and with hands in the
bell, without using valves why? Is this because he wants the
notes to be very quiet and slightly muffled distant sounding?
How would this reflect the tuning?