In Music
Apotheosis in music refers to the appearance of a theme in grand or exalted form. It represents the musical equivalent of the apotheosis genre in visual art, especially where the theme is connected in some way with historical persons or dramatic characters. When crowning the end of a large-scale work the apotheosis functions as a peroration, following an analogy with the art of rhetoric.
Apotheosis moments abound in music, and the word itself appears in some cases. Hector Berlioz used "Apotheose" as the title of the final movement of his Grande symphonie funèbre et triomphale, a work composed in 1846 for the dedication of a monument to France's war dead. Two of Tchaikovsky’s ballets, The Sleeping Beauty and The Nutcracker, as well as La Bayadère, contain apotheoses as finales. The very beautiful concluding tableau of Maurice Ravel's Ma Mere l'Oye is also titled "Apotheose." Czech composer Karel Husa, concerned in 1970 about arms proliferation and environmental deterioration, named his musical response Apotheosis for This Earth. Aram Khachaturian entitled a segment of his ballet Spartacus "Sunrise and Apotheosis." Richard Wagner, referring to the lively rhythms which permeate Beethoven's Symphony No. 7, called it the "apotheosis of the dance". .
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