fect of different masses, these results always
follow whenever his work is performed according to his directions.

All the music of Berlioz belongs to the category of "program music,"
that is to say, everywhere there is an attempt at painting a scene or
representing something by means of music, that something being
habitually suggested and explained by the text, if the work be vocal,
or by explanatory notes, if the work be instrumental. This is as true
of his symphonies, "Romeo and Juliet," and "Harold in Italy," as in
the vocal works themselves. The list of these contains an oratorio,
"The Childhood of Christ" (1854), "The Damnation of Faust" (1846), the
operas "_Benvenuto Cellini_," produced at the _Academie_, 1838, "The
Trojans" (1856), "_Beatrice et Benedict_" (1863). The first was
performed under the direction of Liszt at Weimar, about 1850, but with
indifferent success. Berlioz instrumented several pianoforte
compositions for orchestra, the best known of them being Weber's
"Invitation to the Dance," and "Polonaise in E flat." His treatise
upon instrumentation, published in 1864, remained standard until since
the appearance of the elaborate and more systematic work upon this
subject by F.A. Gevaert. The greatest of Berlioz's works is his
splendid "_Te Deum_," written during the years 1854 and 1855, for some
kind of festival performance. He planned this composition as part of a
great trilogy of an epic-dramatic character in honor of Napoleon, the
first consul. At the moment of his return from his Italian campaigns,
he was to have been represented as entering Notre Dame, where this
"_Te Deum_" is sung by an appointment of musical forces consisting of
a double chorus of 200 voices, a third choir of 600 children, an
orchestra of 134, an organ, and solo voices. The entire work was never
completed, and the "_Te Deum_" had its first and only representation
in Berlioz's lifetime at the opening of the Palace of Industry, April
30, 1855. The work is full of splendid conceptions, and is freer from
eccentricities than any other of the author. It is extremely sonorous,
and is destined to be better known as festival occasions upon a larger
scale become more numerous.

The whole effect of Berlioz's activity was that of a virtuoso in the
department of dramatic and descriptive music, and in the art of
wielding large orchestral masses. It is curious that between him and
Wagner the relations should never have been cordial, although