Robert Schumann argued that this symphony had an ordered pattern despite its apparent "formlessness" and presented a diagram contrasting this symphony with the "traditional model" in his longest critical essay. This composition repeatedly quotes from the first movement of its composer's earlier cantata Herminie, while its fourth movement is a reworking of the "March of the Guards" from its composer's opera Les Francs Juges. The end of this symphony's third movement uses four timpani to depict sudden thunder; that movement earlier has an offstage oboe and a cor anglais play a "ranz des vaches" call exchanged between two shepherds. In this symphony's final movement, a col legno melody depicts rattling bones, while two bassoons and four tubas 
Robert Schumann argued that this symphony had an ordered pattern despite its apparent "formlessness" and presented a diagram contrasting this symphony with the "traditional model" in his longest critical essay. This composition repeatedly quotes from the first movement of its composer's earlier cantata Herminie, while its fourth movement is a reworking of the "March of the Guards" from its composer's opera Les Francs Juges. The end of this symphony's third movement uses four timpani to depict sudden thunder; that movement earlier has an offstage oboe and a cor anglais play a "ranz des vaches" call exchanged between two shepherds. In this symphony's final movement, a col legno melody depicts rattling bones, while two bassoons and four tubas create a "burlesque parody" of the Dies Irae. Inspired by love for Harriet Smithson, this symphony depicts the opium-addled composer seeing himself at a wtiches' sabbath. For 10 points, name this orchestral work of Hector Berlioz.