The fourth movement of this symphony begins with timpani (0[1])sixteenth-note sextuplets in thirds with an unusual mallet alternation pattern. A repeating motif throughout this symphony is first introduced by the violins playing (read slowly) “G G, up to C, down (20[1])to G, up to (20[1])E, E, F, E, E, D.” (20[1])An English horn and an oboe (0[1])play the ranz (20[2])des vaches (“RON de VASH”) to depict (20[3]0[1])a conversation between (10[2]0[1])two (*) shepherds in this (0[1])symphony’s (10[2]0[2])third movement. In (10[1])a (0[1])passage from this symphony’s final movement, two tubas and four bassoons play a C minor Dies (0[1])Irae theme. This symphony’s (0[1])idée fixe (10[1])(“ee-DAY FEEKS”) theme (10[1])occurs throughout its movements such as “Dream of a Witches Sabbath” and “March to (10[2])the Scaffold.” For 10 points, name this five-movement, opium-inspired, (10[1])programmatic symphony by (10[2])Hector (10[8]0[3])Berlioz. ■END■