Part 19 (1/2)

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With equal felicity does he create the picture of the delicate, graceful Sylphs Any boisterous rhythmic activity would be quite out of place; and so, above a sustained ground tone on h the piece), and the slightest suspicion of motion on the second violins and violas, there floats in the first violins one of the most perfectly rounded and exquisite _

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In the closing ue between kettle-drue-headed sticks) and harps, in hare directions--”Les esprits de l'air se balancent quelque temps autour de Faust endormi et disparaissent peu a peu” The piece ends with a chord barely whispered on the clarinets, _pppp_, which, as Hadow aptly suggests, re soap bubbles

Berlioz's most sustained and perfect work, both in content and treated to be the _Harold en Italie_ Symphony[236] in four movements for full orchestra and solo viola

There is little actual correspondence between the scenes of Byron's poem and the musical portrayal; and in fact, as Liszt says, ”The title clearly shows that the conificent nature of Italy could not fail toin sorrow” The significant features of the work are the [237] in each move_,

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and the dazzling sensationalisands) which, when it was once played ”con amore” by a fine orchestra, called forth froentleands” The finale is also notable in that the opening portion is a re in review, of the chief thethe precedent established by Beethoven in the finale of the _Ninth Syh his treatic as justified Beethoven, a certain organic connection between the movements is undoubtedly secured A portion of the secondprayer, is cited in the Supplement (See No 58) chiefly because it is one of Berlioz's noblest inspirations, giving an eloquent picture of a procession approaching, passing by and losing itself in the distance--a long crescendo and dihth measure the March rims, very effectively scored for brass instruained by the introduction of a religious chant The closingbeauty--aproduced by an intentional mixture of tonalities (the sustained B in the flute and oboe being answered by a C on the horns and harp, while beneath are heard fragments of the March theme in the main key on the pizzicato double basses)[238] Berlioz's most pretentious orchestral composition is that called in the full title ”Romeo and Juliet, draue in choral recitative, co enius, it is a very uneven work and is too lomerate of styles--narrative, lyrical, dramatic, theatric and symphonic--for the constructive ability of the author to weld into a living whole There are several portions which, however noble and glorious may have been Berlioz's conception,[239] and however inspired by Shakespeare's genius, do not ”come off” Two of the nuhest praise--the _Love Scene_ and the _Queen Mab Scherzo_ Of the latter Saint-Saens writes--”The famous Scherzo is worth even racefulness Beside such delicacies and transparencies the _finesses_ of Mendelssohn in the _Midsu in its daintiness and sparkle, _eg_

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Berlioz considered the _Love Scene_ his finest inspiration and there are few pieces comparable with it for passionate utterance The orchestration is wonderful for richness and variety[240]

[Footnote 236: For an extended analysis of the work and also for an account of the alleged connection of the virtuoso Paganini with its cora comments in _Stories of Symphonic Music_ by Lawrence Gilman]

[Footnote 237: An early example of the modern principle of transformation and transference by the illustration of ”association of ideas” ained fro measures of Strauss's _Thus Spake Zarathustra_; it seems incredible that Strauss did not have Berlioz's effect in his mind]

[Footnote 239: See the _Memoires_ for a rhapsodic account of his state ofin the war it in his power to arrive at the marvellous island where rises the temple of pure Art”]

[Footnote 240: For extended co citation of the actual music see the Sixth Volume of the _Oxford History of Music_]

After a careful study of the foregoing examples the reader, we hope, is in a position to reat significance It should be understood that this music is intensely subjective and so requires a sympathetic and cultivated attitude on the part of the listener To the writer at least, there remains one vital lack in Berlioz's music,--that of the _dissonant element_ It often seems as if his conceptions could not be fully realized for want of sheerFor what is music without dissonance?

Surely ”flat, stale and unprofitable” even if, in Berlioz's case, this deficiency is offset by great rhytheous color

Yet in his best works[241] there is such a strong note of individuality, indeed such real character, that they are deserving of sincere respect and adh by everybody they may not be deeply loved We should, furthermore, always remember that, if Berlioz's poverty of har, he never falls into the humdru His genius was unhampered by any conventional harmonic vocabulary, and hence it could always express itself freely

That he was a real genius no one can fairly doubt

[Footnote 241: For valuable analytical comments on Berlioz's orchestral style see Vol VIII, Chapter X, of the _Art of Music_ (Cesar Saerchinger, NY), and for biographical details and eneral import, Vol II, Chap IX]

All the qualities which have been enumerated as typical of the romantic temperament: warmth of sentiment, broad culture, love of color and the sensuous side of music, freedom of form, and stress laid on the orchestra as the most eloquent means of expression, reach their cliarian father and a German mother, but chiefly associated with Paris, Weimar, Budapest and Roure in the music of the 19th century; for he worked and won fareatest the world has known--as a prolific composer for pianoforte, orchestra and voice, as a teacher, conductor and e part of his ti artists and in producing works which otherwise ht His life is of constant and varied interest, so spectacular at tian to receive adulation for his precocity; at the height of his career he was loaded with honors and wealth; in his old age he was a favorite with everyone of distinction and influence in France, Gerland and Italy

Nevertheless he preserved, throughout, the integrity of his character and the nobility of his disposition Whatever may be the final estimate of his powers as a creative artist, as a y;[243] for seldom has any one been freer from the faults of vanity, petty jealousy and envy which so often e days of his unpopularity have never been surpassed in the brotherhood of art

[Footnote 242: The best biographies in English are the one by Huneker and that in Vol 2 of Grove's Dictionary]

[Footnote 243: For a lively description of his influence as a pianoforte teacher see _Music Study in Germany_ by Amy Fay]