and the vigorous
elasticity introduced by these two composers has widened incalculably
the range of dramatic effect. But his indisputable claim to lasting
recognition is his genius in the treatment of the orchestra. Berlioz
had an inborn instinct for sensuous tonal effect for its own sake, and
not as the clothing of an abstract idea. With him the art of making
that composite instrument, the orchestra, give forth the greatest
beauty and variety of sound became an end in itself; and from his
ingenious and innovating effects has been evolved the orchestra as we
hear it to-day. Berlioz thought, so to speak, in terms of orchestral
color. In his melodies we do not feel that the drawing, the contour of
the pure line, is the chief thing; but that the assignment of the
melody to just the right instrument, and the color-effect thereby
produced, are integral parts of the conception. Notwithstanding the
fact that some of his effects are extravagant or at times bizarre, he
must be credited with revealing possibilities in orchestral shading
and color which, still further developed by Wagner, Strauss and
Tchaikowsky, have become conventional means of expression. Some of his
most celebrated and satisfying works, in addition to those mentioned,
are the _Harold in Italy_ Symphony, with its personification by a solo
viola of the chief character; the _Romeo and Juliet_ Symphony, for
both vocal and instrumental forces (of which the ball-scene with its
wondrous love-melody and the _Queen Mab_ Scherzo--unequalled for
daintiness--represent his highest attainments as a tone-poet) and,
most popular of all, the _Damnation of Faust_ based on scenes from
Goethe's poem. The bewitching incidental pieces for orchestra alone,
such as the _Ballet of Sylphs_ and the _Rakoczy March_, are often
played at symphony concerts, and are familiar to everyone. Certain
blemishes in Berlioz's music are obvious and need not be
over-emphasized. There is often more style and outward effect than
real substance. His works excite, but how seldom do they exalt! For he
was frequently deficient in depth of emotion and in latent
warmth--qualities quite different from the hectic glow and the
feverish passion which his French admirers, Tiersot and Boschot, claim
to be genuine attributes of musical inspiration, of power to compel
universal attention. We of other nations can only firmly dissent.
Without question his work has never succeeded in calling forth the
spontaneous love