March to the Scaffold from Symphonie Fantastique

In his youth, Berlioz grappled with isolation and intense mood swings, which formed the basis of his creative inspiration. The catalyst for his transformative journey was Irish actress Harriet Smithson, who ignited an obsession upon Berlioz watching her perform. The Symphonie fantastique stands as Berlioz's extravagant endeavor to captivate Harriet's attention. Premiering in Paris in 1830, the Symphonie fantastique garnered a mixed reception, with the absence of Harriet Smithson being particularly disappointing. The fourth movement delves into the macabre depths of Berlioz's imagination.

As the program notes describe, "The Artist (a self-insert of the composer), aware his love is unrequited, poisons himself with opium, descending into sleep accompanied by harrowing visions." The "March to the Scaffold" constitutes the first of these visions, portraying the Artist's execution for his beloved's murder. The march echoes the somber cadence of actual execution processions, with a military band escorting the prisoner amid the strings' enthusiastic cheers. In his final moments, the Artist reflects on his beloved, but her theme is truncated by the guillotine's blade. The Artist's fate is sealed, symbolized by his severed head, the resounding drums, and the tumultuous crowd's roar.