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Elie Wiesel’s play The Trial of God is an historical fiction set in mid-seventeenth century Ukraine, but is based on actual events he witnessed as a child in Auschwitz in the 1940s, when three rabbis put God on trial for crimes against the human race.
Why did he choose to treat this incident the way he did, by setting it back almost 300 years in time?

Sample Solution

experimenting with more inconsistent meters like 7/4. Each movement of the symphony also contains a number of what can be described as battle scenes, no doubt reflecting the environment in which Shostakovich was composing at the time. For example, in the first movement the music becomes more and more frantic until the trumpets loudly introduce the arrival of the Germans with scales that ascend and descend consecutively. As the tempo increases the brass imitate the air raid sirens. In addition, the repetition of themes and ostinatos in the first movement seem to represent the stupidity of war according to Sheinberg. The statement of the first theme, which makes numerous appearances in various forms throughout the work, makes it clear that this is going to be a work representative of the Russian people as a whole: strong, resilient and united. The theme itself contains several rhythmic ideas that are quite similar to those in the main theme from the Fifth Symphony (marked in the score). The first movement is essentially shaped like one large crescendo. After the first theme is stated, the fanfare fades off into a very passionate melody. The quiet section is a transition into what is often called the invasion theme. At the measure marking 19, a snare drum ostinato enters and establishes a new tempo. The presence of the snare drum in and of itself is a very important motive throughout, returning just before each battle or the arrival of each battle. This section can be described as the march to war or the battle about to ensue. In this section, snippets and alterations of other selections are subtly heard. The second movement begins with a scherzo-like theme in the string section but later in the movement the winds interrupt with a raucous theme reminiscent of the siege and battle. The movement starts with a string trio and expands outward from there. Stylistically, it sounds like a neo-classical dance, scherzo, and a lyric intermezzo. Initially, a light, lilting theme is introduced by the strings. The classical elements appear as clear phrases and cadences at first, but the dance seems almost broken as various other instruments seem to be playing their random tunes. The meter shifts quite frequently and the number of accidentals involved makes the dance sound much sadder in some places and grotesque in others. One could interpret this as the aftermath of the battle as it paints an image of almost confusion and shell shock. Gradually the m>

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