[Music]
In the closing measures there is a charming shadowy dialogue
between kettle-drums (struck with sponge-headed sticks) and
harps, in harmonics, carrying out Berlioz’s stage directions—
“Les esprits de l’air se balancent quelque temps autour de Faust
endormi et disparaissent peu à peu.” The piece ends with a
chord barely whispered on the clarinets,pppp, which, as Hadow
aptly suggests, reminds us of vanishing soap bubbles.
Berlioz’s most sustained and perfect work, both in content and
treatment, is universally acknowledged to be theHarold en Italie
Symphony[236] in four movements for full orchestra and solo
viola. There is little actual correspondence between the scenes
of Byron’s poem and the musical portrayal; and in fact, as Liszt
says, “The title clearly shows that the composer wished to render
the impression which the magnificent nature of Italy could not
fail to make on a soul such as that of Harold languishing in
sorrow.” The significant features of the work are the melody
for solo viola, recurring[237] in each movement, which typifies
Harold—that “melancholy dreamer,”e.g.,
[Music]
and the dazzling sensationalism of the Finale (Orgy of Brigands)
which, when it was once played “con amore” by a fine orches-
tra, called forth from Berlioz the following eulogy,—“Sublime! I
thank you, gentlemen, and I wonder at you; you are perfect brig-
ands.” The finale is also notable in that the opening portion is a
reminiscence, a passing in review, of the chief themes of the pre-
ceding movements. Berlioz, we may surmise, was following the
precedent established by Beethoven in the finale of theNinth
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 undoubt-
edly secured. A portion of the second movement,March of
Pilgrimssinging the evening prayer, is cited in the Supplement
(See No. 58) chiefly because it is one of Berlioz’s noblest inspi-
rations, 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 effec-
tively scored for brass instruments, pianissimo. In the middle
of the piece a contrast is gained by the introduction of a re-