more" by a fine orchestra, called
forth from Berlioz the following eulogy,--"Sublime! I thank you,
gentlemen, and I wonder at you; you are perfect brigands." The finale
is also notable in that the opening portion is a reminiscence, a
passing in review, of the chief themes of the preceding movements.
Berlioz, we may surmise, was following the precedent established by
Beethoven in the finale of the _Ninth Symphony_, and, although his
treatment is rather mechanical and lacking in any such dramatic logic
as justified Beethoven, a certain organic connection between the
movements is undoubtedly secured. A portion of the second movement,
_March of Pilgrims_ singing the evening prayer, 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
diminuendo. At every eighth measure the March melody is interrupted by
the muffled chant of the pilgrims, very effectively scored for brass
instruments, pianissimo. In the middle of the piece a contrast is
gained by the introduction of a religious chant. The closing measures
of this movement are of haunting beauty--a mysterious effect being
produced 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,
dramatic symphony, with choruses, vocal solos, and a prologue in
choral recitative, composed after Shakespeare's tragedy."
Notwithstanding many touches of genius, it is a very uneven work and
is too much a conglomerate 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 numbers, on the other hand, are worthy of the highest praise--the
_Love Scene_ and the _Queen Mab Scherzo_. Of the latter Saint-Saens
writes--"The famous Scherzo is worth even more than its reputation. It
is a miracle of lightness and gracefulness. Beside such delicacies and
transparencies the _finesses_ of Mendelssohn in the _Midsu