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dominant qualities of my music are passionate expression, internal fire, rhythmic animation, and unexpected changes.”

Heinrich Heine, the German poet, who was Berlioz’s friend, called him a “colossal nightingale, a lark of eagle-size, such as they tell us existed in the primeval world.” The poet goes on to say—“Berlioz’s music, in general, has in it something primeval if not antediluvian to my mind; it makes me think of gigantic species of extinct animals, of fabulous empires full of fabulous sins, of heaped-up impossibilities; his magical accents call to our minds Babylon, the hanging gardens, the wonders of Nineveh, the daring edifices of Mizraim, as we see them in the pictures of the Englishman Martin.” Shortly after the publication of “Lutetia,” in which this bold characterisation was expressed, the first performance of Berlioz’s “Enfance du Christ” was given, and the poet, who was on his sick-bed, wrote a penitential letter to his friend for not having given him justice. “I hear on all sides,” he says, “that you have just plucked a nosegay of the sweetest melodious flowers, and that your oratorio is throughout a masterpiece of naïvetè. I shall never forgive myself for having been so unjust to a friend.”

Berlioz died at the age of sixty-five. His funeral services were held at the Church of the Trinity, a few days after those of Rossini. The discourse at the grave was pronounced by Gounod, and many eloquent things were said of him, among them a quotation of the epitaph of Marshal Trivulce, “Hic tandem quiescit qui nunquam quievit” (Here he is quiet, at last, who never was quiet before). Soon after his death appeared his Mémoires, and his bones had hardly got cold when the performance of his music at the Conservatoire, the Cirque, and the Chatelet began to be heard with the most hearty enthusiasm.

VI. Théophile Gautier says that no one will deny to Berlioz a great character, though, the world being given to controversies, it may be

argued whether or not he was a great genius. The world of to-day has but one opinion on both these questions. The force of Berlioz’s character was phenomenal. His vitality was so passionate and active that brain and nerve quivered with it, and made him reach out towards experience at every facet of his nature. Quietude was torture, rest a sin, for this daring temperament. His eager and subtile intelligence pierced every sham, and his imagination knew no bounds to its sweep, oftentimes even disdaining the bounds of art in its audacity and impatience. This big, virile nature, thwarted and embittered by opposition, became hardened into violent selfassertion; this naturally resolute will settled back into fierce obstinacy; this fine nature, sensitive and sincere, got torn and ragged with passion under the stress of his unfortunate life. But, at one breath of true sympathy how quickly the nobility of the man asserted itself! All his cynicism and hatred melted away, and left only sweetness, truth, and genial kindness.

When Berlioz entered on his studies, he had reached an age at which Mozart, Schubert, Mendelssohn, Rossini, and others, had already done some of the best work of their lives. Yet it took only a few years to achieve a development that produced such a great work as the “Symphonie Fantastique,” the prototype of modern programme music.

From first to last it was the ambition of Berlioz to widen the domain of his art. He strove to attain a more intimate connection between instrumental music and poetry in the portrayal of intense passions, and the suggestion of well-defined dramatic situations. In spite of the fact that he frequently overshot his mark, it does not make his works one whit less astonishing. An uncompromising champion of what has been dubbed “programme” music, he thought it legitimate to force the imagination of the hearer to dwell on exterior scenes during the progress of the music, and to distress the mind in its attempt to find an exact relation between the text and the music.

The most perfect specimens of the works of Berlioz, however, are those in which the music speaks for itself, such as the “Scène aux

Champs,” and the “Marche au Supplice,” in the “Symphonie Fantastique,” the “Marche des Pèlerins,” in “Harold;” the overtures to “King Lear,” “Benvenuto Cellini,” “Carnaval Romain,” “Le Corsaire,” “Les Francs Juges,” etc.

As a master of the orchestra, no one has been the equal of Berlioz in the whole history of music, not even Beethoven or Wagner. He treats the orchestra with the absolute daring and mastery exercised by Paganini over the violin, and by Liszt over the piano. No one has showed so deep an insight into the individuality of each instrument, its resources, the extent to which its capabilities could be carried.

Between the phrase and the instrument, or group of instruments, the equality is perfect; and independent of this power, made up equally of instinct and knowledge, this composer shows a sense of orchestral colour in combining single instruments so as to form groups, or in the combination of several separate groups of instruments by which he has produced the most novel and beautiful effects—effects not found in other composers. The originality and variety of his rhythms, the perfection of his instrumentation, have never been disputed even by his opponents. In many of his works, especially those of a religious character, there is a Cyclopean bigness of instrumental means used, entirely beyond parallel in art. Like the Titans of old, he would scale the very heavens in his daring. In one of his works he does not hesitate to use three orchestras, three choruses (all of full dimensions), four organs, and a triple quartet.

The conceptions of Berlioz were so grandiose that he sometimes disdained detail, and the result was that more than one of his compositions have rugged grandeur at the expense of symmetry and balance of form.

Yet, when he chose, Berlioz could write the most exquisite and dainty lyrics possible. What could be more exquisitely tender than many of his songs and romances, and various of the airs and choral pieces from “Beatrice et Benedict,” from “Nuits d’Été,” “Irlande,” and from “L’Enfance du Christ?”

Berlioz in his entirety, as man and composer, was a most extraordinary being, to whom the ordinary scale of measure can hardly be applied. Though he founded no new school, he pushed to a fuller development the possibilities to which Beethoven reached out in the Ninth Symphony. He was the great virtuoso on the orchestra, and on this Briarean instrument he played with the most amazing skill. Others have surpassed him in the richness of the musical substance out of which their tone-pictures are woven, in symmetry of form, in finish of detail; but no one has ever equalled him in that absolute mastery over instruments, by which a hundred become as plastic and flexible as one, and are made to embody every phase of the composer’s thought with that warmth of colour and precision of form long believed to be necessarily confined to the sister arts.

APPENDIX. CHRONOLOGICAL TABLE. 1520-1594 1633-1687 1658-1695 1659-1725 1685-1750 1685-1759 1710-1736 1714-1787 1728-1800 1732-1809 1741-1816 1741-1813 1749-1801 1756-1791 1760-1842 1763-1817 1770-1827 1774-1851 1775-1834 1782-1871 1786-1826 1791-1864 1792-1868 1797-1828 1798-1848 1799-1862

Palestrina.

Lulli.

Purcell.

A. Scarlatti.

J. S. Bach.

Handel.

Pergolesi.

Gluck.

Piccini.

Haydn.

Paisiello.

Grétry.

Cimarosa.

Mozart.

Cherubini.

Méhul.

Beethoven.

Spontini.

Boïeldieu.

Auber.

Weber.

Meyerbeer.

Rossini.

Schubert.

Donizetti.

Halévy.

1802-1835 1803-1869 1809-1847 1809-1849 1810-1856 1813-1883 1813 1818

Bellini.

Berlioz.

Mendelssohn.

Chopin.

Schumann.

Wagner.

Verdi.

Gounod.

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