ligious chant. The closing measures of this movement are of
haunting beauty—a mysterious effect being produced by an in-
tentional mixture of tonalities (the sustained B in the flute and
oboe being answered by a C on the horns and harp, while be-
neath are heard fragments of the March theme in the main
key on the pizzicato double basses).[238] Berlioz’s most pre-
tentious orchestral composition is that called in the full title
“Romeo and Juliet, dramatic symphony, with choruses, vocal
solos, and a prologue in choral recitative, composed after Shake-
speare’s tragedy.” Notwithstanding many touches of genius, it is
a very uneven work and is too much a conglomerate of styles—
narrative, lyrical, dramatic, theatric and symphonic—for the
constructive ability of the author to weld into a living whole.
There are several portions which, however noble and glorious
may have been Berlioz’s conception,[239] and however inspired
by Shakespeare’s genius, do not “come off.” Two of the numbers,
on the other hand, are worthy of the highest praise—theLove
Sceneand theQueen Mab Scherzo. Of the latter Saint-Saëns
writes—“The famous Scherzo is worth even more than its repu-
tation. It is a miracle of lightness and gracefulness. Beside such
delicacies and transparencies thefinessesof Mendelssohn in the
Midsummer Night’s Dreamseem heavy.” The main theme is
fascinating in its daintiness and sparkle,e.g.
[Music]
Berlioz considered theLove Scene his finest inspiration and
there are few pieces comparable with it for passionate utterance.
The orchestration is wonderful for richness and variety.[240]
[Footnote 236: For an extended analysis of the work and also
for an account of the alleged connection of the virtuoso Paganini
with its composition, see the essay in Niecks’Program Music.
There are, in addition, interesting comments inStories of Sym-
phonic Musicby Lawrence Gilman.]
[Footnote 237: An early example of the modern principle of
transformation and transference by theme.]
[Footnote 238: A striking illustration of “association of ideas”
may be gained from a comparison of the end of this movement
with the closing measures of Strauss’sThus Spake Zarathustra;
it seems incredible that Strauss did not have Berlioz’s effect in
his mind.]