The document provides an overview and analysis of Beethoven's Symphony No. 6, also known as the Pastorale Symphony. It discusses each of the five movements, describing how they depict scenes from nature, such as a brook, a storm, and a shepherd's song of thanksgiving. The document also summarizes Hector Berlioz's Symphonie fantastique and how it was inspired by his unrequited love for actress Harriet Smithson. The story is told through five movements that depict the artist's dreams and visions, including attending his own execution.

1. Program Music
- music that depicts something without words
Beethoven Symphony #6 Pastorale
considered 1 st by some

2. First movement: allegro non troppo
the composer's feelings as he arrives in the country.
Second movement: andante molto mosso
"By the brook,"
Third movement: allegro
the country folk dancing and reveling.
Fourth movement: allegro
a violent thunderstorm
Fifth movement: allegretto
the shepherds' song of thanksgiving
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3. The Storm
Fourth Movement

5. Hector Berlioz
was profoundly influenced by the music of Beethoven
He also came under the spell of the famous Shakespearean actress Harriet Smithson;

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7. The story behind the Symphonie fantastique
is in part a reflection of Hector's uncontrollable
feelings for Harriet Smithson.
He married her after his return from Rome,
but it was a short-lived and troubled marriage.

8. REVERIES — PASSIONS
The author imagines that a young musician, afflicted with that moral disease that a
well-known writer calls the vague des passions, sees for the first time a woman who
embodies all the charms of the ideal being he has imagined in his dreams, and he falls
desperately in love with her.
A BALL
The artist find 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 peace of
SCENE IN THE COUNTRY
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 entertain—all 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!

9. MARCH TO THE SCAFFOLD
Convinced that his love is unappreciated, the artist poisons himself with opium. The
dose of the narcotic, too weak to kill him, plunges him into a sleep accompanied by
the most horrible visions. He dreams that he has killed his beloved, that he is
condemned and led to the scaffold, and that he is witnessing his own execution. Part
Fifth Movement
"Dream of the Witches' Sabbath"
He sees himself at the sabbath, in the midst of a frightful troop of ghosts, sorcerers,
monsters of every kind, come together for his funeral. Strange noises, groans, bursts
of laughter, distant cries which other cries seem to answer.
—A roar of joy at her arrival.—She takes part in the devilish orgy.
—Funeral knell, burlesque parody of the Dies irae, sabbath round-dance.
The sabbath round and the Dies irae combined.

10. Infernal atmosphere (soft muted strings)
Shrieks of laughter
A vulgar tune trivial and grotesque (clarinet)
Bells toll for the dead
Dies irae - Death Chant
Burlesque of the Dies irae
Dance of the Witches
The dance and Dies irae combined