powerful orchestral scene representing Romeo's
invocation, Juliet's awakening, and the despair and death of the
lovers.[15] The finale is mainly for double chorus, representing the
quarrel between the Montagues and Capulets in the cemetery, which is
written with great dramatic power and conceived on the large scale of an
operatic _ensemble_ both in the voice parts and instrumentation, and the
final reconciliation through the intercession of Friar Laurence, whose
declamatory solos are very striking, particularly the air, "Poor Children
mine, let me mourn you." The work is one of almost colossal difficulty,
and requires great artists, singers and players, to give expression to
its daring realism. Among all of Berlioz's programme-music, this
tone-picture of the principal episodes in Shakspeare's tragedy stands out
clear and sharp by virtue of its astonishing dramatic power.

[14] My dear Friend,--Beethoven is dead, and Berlioz alone can revive
him. I have heard your divine composition, so worthy of your genius,
and beg you to accept, in token of my homage, twenty thousand francs,
which will be handed to you by the Baron de Rothschild on
presentation of the enclosed.--Your most affectionate friend,
Nicolo Paganini.
Paris, Dec. 18, 1838.

[15] Composer's Note. The public has no imagination; therefore pieces
which are addressed solely to the imagination have no public. The
following instrumental scene is in this case, and I think it should
be omitted whenever this symphony is given before an audience not
having a feeling for poetry, and not familiar with the fifth act of
Shakspeare's tragedy. This implies its omission ninety-nine times out
of a hundred. It presents, moreover, immense difficulties of
execution. Consequently, after Juliet's funeral procession a moment
of silence should be observed, then the finale should be taken up.

The Damnation of Faust.

The "Damnation of Faust," dramatic legend, as Berlioz calls it, was
written in 1846. It is divided in four parts, the first containing three,
the second four, the third six, and the fourth five scenes, the last
concluding with an epilogue and the apotheosis of Marguerite. It was
first produced in Paris in November, 1846, and had its first hearing in
this country Feb. 12, 1880, when the late Dr. Leopold Damrosch brought it
out with the assistance of the New York Symphony, Oratorio,