h and universality
than the grand Theism which affectionate communion with nature had
taught him.

[Sidenote: _Berlioz's Requiem._]

[Sidenote: _Dramatic effects in Haydn's masses._]

[Sidenote: _Berlioz's orchestra._]

Berlioz, less religious, less reverential, but equally fired by the
solemnity and majesty of the matter given into his hands, wrote a work
in which he placed his highest conception of the awfulness of the
Last Judgment and the emotions which are awakened by its
contemplation. In respect of the instrumentation he showed a far
greater audacity than Beethoven displayed even in the much-mooted
trumpets and drums of the _Agnus Dei_, where he introduces the sounds
of war to heighten the intensity of the prayer for peace, "_Dona nobis
pacem_." This is talked about in the books as a bold innovation. It
seems to have escaped notice that the idea had occurred to Haydn
twenty-four years before and been realized by him. In 1796 Haydn wrote
a mass, "In Tempore Belli," the French army being at the time in
Steyermark. He set the words, "_Agnus Dei qui tollis peccata mundi_,"
to an accompaniment of drums, "as if the enemy were already heard
coming in the distance." He went farther than this in a Mass in D
minor, when he accompanied the _Benedictus_ with fanfares of trumpets.
But all such timid ventures in the use of instruments in the mass sink
into utter insignificance when compared with Berlioz's apparatus in
the _Tuba mirum_ of his Requiem, which supplements the ordinary
symphonic orchestra, some of its instruments already doubled, with
four brass bands of eight or ten instruments each, sixteen extra
drums, and a tam-tam.

FOOTNOTES:

[H] "Notes on the Cultivation of Choral Music," by H.E. Krehbiel, p.
17.

IX

_Musician, Critic, and Public_

[Sidenote: _The newspapers and the public._]

I have been told that there are many people who read the newspapers on
the day after they have attended a concert or operatic representation
for the purpose of finding out whether or not the performance gave
them proper or sufficient enjoyment. It would not be becoming in me to
inquire too curiously into the truth of such a statement, and in view
of a denunciation spoken in the introductory chapter of this book, I
am not sure that it is not a piece of arrogance, or impudence, on my
part to undertake in any way to justify any critical writing on the
subject of music. Certain it is that some men who write about m