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sitive orchestrators before him, men who were deeply aware of the nature of their tools, men who, like Mozart, could scarcely repress their tears at the sound of a favorite instrument, and wrote marvelously for flutes and horns and oboes and all the components of their bands. But matched with his, their knowledge of the instrument was patently relative. For, with them, music had on the whole a general timbre. Phrases which they assigned, say, to violins or flutes can be assigned to other instruments without doing the composition utter damage. But in the works of Berlioz music and instruments are inseparable. One cannot at all rearrange his orchestration. Though the phrases that he has written for bassoon or clarinet might imaginably be executed by other instruments, the music would perish utterly in the substitution. What instrument but the viola could appreciate the famous "Harold" theme? For just as in a painting of Cezanne's the form is inseparable from the color, is, indeed, one with it, so, too, in the works of Berlioz and the moderns the form is part of the sensuous quality of the band. When Rimsky-Korsakoff uttered the pronouncement that a composition for orchestra could not exist before the orchestration was completed, he was only phrasing a rule upon which Berlioz had acted all his life. For Berlioz set out to learn the language of the orchestra. Not only did he call for new instruments, instruments that have eventually become integral portions of the modern bands, but he devoted himself to a study of the actual natures and ranges and qualities of the old, and wrote the celebrated treatise that has become the textbook of the science of instrumentation. The thinness of much of his work, the feebleness of the overture to "Benvenuto Cellini," for instance, results from his inexperience in the new tongue. But he had not to practise long. It was not long before he became the teacher of his very contemporaries. Wagner owes as much to Berlioz's instrumentation as he owes to Chopin's harmony. But for the new men, he is more than teacher. For them he is like the discoverer of a new continent. Through him they have come to find a new fashion of apprehending the world. Out of the paint-box that he opened, they have drawn the colors that make us see anew in their music the face of the earth. The tone-poems of Debussy and the ballets of Ravel and Strawinsky, the scintillating orchestral compositions of Strauss and Rimsky a
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