The Sun.
London, England, 1845-12-29 00:00:00

BERLIOZ IN VIENNA.
(From a Correspondent of the Post)
The arrival of this distinguished musician and critic
excited much curiosity among the artists and amateurs
of Vienna, and various were the opinions as to the pro-
bability of his success in satisfying the dill( rent tastes of
the great musical republic of the imperial city, the.
legitimists and the innovators disputing, inch by•
inch, the rights and privileges of art domain ; the•
one contending for established forms, after the models:
of known masters--the other party repudiating, very,
wisely, any attempt to curb the fancy, or limit.
the boundary of the imagination in instrumental music.,
It is ever fresh in the memory of the present genera-
tion that Beethoven's sinfonia Eroica, was hissed at its
first performance in Vienna, and although criticisms,
stringent and unjust, have freely been circulated •
throughout Germans', on the extravagance and innova-
tions of Berlioz's wild fancies, calculated to prejudice the
public mind, before the music was heard, I am happy to
say that posterity will be spared the record of an ill-con-
sidered and hasty judgment of the 'Viennese on the •
merits of Berlioz's compositions, which have thrice been
performed, applauded, and several of them encored.
Goethe has somewhere spoken of the power of genius to
disturb, and by such a test it may safely be affirmed
that Berlioz has certainly claim to be considered a man
of some genius, since the power of his muse has dis-
turbed the musical society of Vienna to a fearful de-
gree. The imagination has no positive limits, and
who sees not,' says an eminent critic, "that this
divine art, so vague in its element, has the power to
move nature to imitate," and yet there are peo-
ple who persist in designating inventions in art
es unnatural ; new combinations as crude ; novel rhythm
in melody as inadmissible, and whatever differs from
those forms with which the' ear is become familiar in
the works of other masters are, to these self-satis-
fied propounders of the merits of composers, ag-
gressions unpardonable. History furnishes mankind
with so many instances of the persecution of original
thinkers—from Galileo to Beethoven—in science and art,
that it behoves us, in atonement for the sins of past gene-
rations, to be charitable, and cautiously investi-
gate the merits of new styles in art, before we pass f
judgment upon them. The opinion I expressed in a •
former communication on the superior musical intel- •
ligence of this city is confirmed by further experience,
and I have reason to believe that Berlioz has never wit-
nessed a public more readily detect the best features of
his music at a first performance, or feel more keenly the t
beautiful effects of his instrumentation.
At each repetition of the performances I frequently I.
remarked that several artists nil° the night previous t
were declaring against the deseriptire music of Berlioz,
a ere most punctual in their attendance, and secured the
best seats. This fact speaks volumes, and proves, at
least, that if there is nothing to admire, there is some- e
thing to learn by listening to his compositions ; for r
artists are too poor in Vienna to pay thrice to gratify t
mere idle curiosity. Intolerant persons are always to I.
be found, and the world seems distracted between
realists and idealists. As an art, music is compara-
tively modern, and the daily discoveries and improve-
ments of instruments lead to further novelties in com-
bination; as a science, restricted to dianontic progres-
sions, the resources of counterpoint have been nearly
exhausted by the Church writers of the last three cen- t
tunes, and very little or no variety can now be pro-
duced 's
to charm the hearers of our time without chro-
matic harmony, frequent modulation, contrast in lights
and shades, and a skilful employment of the elements of
a modern orchestra; so that to a profound knowledge of a
ancient counterpoint, a modern classical writer must add ,
a thorough acquaintance with an art unknown to our -
great musical scholars of Fugal celebrity. The addition
of modern instrumentation to the grand work of science
naturally induces young composers, of vivid imagine- r.
Lion, to strike out something new, and Berlioz has ven-
tured beyond all his contemporaries in what is accu-
rately
denominated "picture or descriptive music." The
subjects, as well as their illustration, are frequently-his
own; although I have yet to become acquainted with
his Romeo and Juliet, I have hitherto preferred those
pieces which are purely descriptive of scenes of his own -
suggestion. The overture to Lear did not equal my ex-
peetation; nor have some half-dozen overtures to Mac-
beth, which German composers have published, been r
considered a worthy appanage to that grand and fearful
tragedy. Beethoven's Pastorale, Mendelssohn's over-
ture to Midsummer Right's Dream, and David's Desert,
are perfect pictures, lovely, simple, and intelligible. f
Berlioz has attempted still further to push this interest-
ing branch of modern art, and his attempt deserves en-
couragement. In the midst of the excitement which his •
music has produced in Vienna, the most accredited jour-
nals have put forth several ably-written articles, from
the pen of practical and known musicians, which have •
had a tendency to convert legitimists into a more liberal
way of viewing the licenses in art; and as the intelligent
portion of this musical city have more or less know-
ledge of music, the small fry of the press, that speculate ,
opinions at random, exercise no influence whatever over
the public mind, so that with the leading press and pro-
fessors in his favour, Berlioz has gained in Vienna a
most signal triumph. The extravagant combinations of
Beethoven's later works are not upheld as models of •
purity in harmony and counterpoint for students to imi-
tate, nor were the more fantastic passages of harmonics
and languishing portamento of Paganini's style of play-
ing examples for young violinists servilely to copy; yet
it would be a pity to hear a musician, in these days,
assert that he derived no benefit from listening to the one
or the other, and still further would it be unjust to deny •
that both these composers have revealed to us new •
charms in art, which only require to be understood to be
duly appreciated. In proportion to the sensibility and
knowledge of the hearer does music affect and gratify,
arid without pretending to enjoy advantages denied to •
thousands in this city, I freely confess that I have been
moved and gratified by some compositions of Berlioz, and •
such was the magic spell of his muse over my feelings,
that I could not resist visiting his third and last concert, •
though confined for some days previous tO my room, ,•
from a severe cold. There are three of his pieces which ,
have never escaped an encore, and any one of these
three is enough to impress a musician with respect and •
admiration fur the learning and genius of its composer.
The most popular is the overture to the Carnival of
Rome; the next is the March of the Pilgrims ; and the
third a ball-scene which occurs in his descriptive sym-
phony
of the life of an artist. Here you have fancy and
depth of imagination, novelty in instrumentation, fresh
and powerful final cadenzas of unhackneyed harmony,
touching melodies, and endless forms of accompaniment.
To enter into a more minute description of these com-
positions, without the aid of notation, would be of little
interest, and as Berlioz intends to produce his works
next season in London, the English dilettanti will have
an opportunity of affirming the favourable verdict which
has been pronounced by the most enlightened and the s
most severe musical ordeal in Europe—the musical tri-
bunal of Vienna.

MUSICIANS IN VIENNA.—The city that has been the
favourite residence of a Gluck, Haydon, Mozart, and
Beethoven, is yet the resort of men of genius, and here,
within these few days, have I seen assembled a rare
amount of musical celebrities, comprising Berlioz, Feli-
bien David, Czerny, Sechter, Gyrowytz, Molique, Alvars,
Thalberg, Ernest, Dreyschock, Mayseder, and several
others whose fame is less known in England, but who
hold a very honourable rank in the profession at Vienna.
Of the quantity, quality, and cheapness of music to be
heard in Vienna, I have only to give you an extract of
last Sunday's diary :—Eleven, A.M., High Mass—Haydn :
half-past, twelve, P.m., first act of a grand concert, with
Alvar s new symphony ; half-past one, heard F. David's
Desert ; four, P.M., Vespers in St. Stephen's ;
five, Quartets —Haydn, Onslow, and Beethoven ;
at seven, Mozart's Figaro ; at ten, miscellaneous music
by Strauss. No dancing permitted during Advent. The
cost of this day's splendid bill of fare was the price of a
ticket to David's Desert—two shillings. The perform-
ance of this last work was so much better in London,
that I regretted having lust the second act of a splendid
concert to hear an interior performance of music with
which I was already so well acquainted. Although
David's music does not satisfy the exigencies of very fas-
tidious critics, yet it finds admirers in every city. The
originality of the theme, the poetical sentiment of the
national melodies, and the novel effect of the "sunrise,"
are fully appreciated. I hear that the second perform-
ance was crowded, and more successful than the first. A
third repetition is also announced. Berlioz has announced
a fourth concert, to consist of his musical illustrations of
Romeo and Giuliata. A grand entertainment is to be
given to Berlioz by the artists of Vienna, at which he
will be presented with a gold baton. Of this very in-
teresting festival you shall have a notice iu a few days
hence. I would not omit, on any account, to bear wit-
ness to such a gratifying testimonial of noble sentiments
as is promised on this occasion. Let me hope that the
English profession will, for once, give a hearty welcome
to the recipient of honours from their musical brethren
in Vienna, and if he fail to please the million by the ex-
travagances of his muse, let it not be said in after years
that Englishmen alone were too obtuse to comprehend,
and too illiberal to encourage the daring efforts of an
artist that has had the courage to venture out of the
beaten tract of his predecessors.

SPORTING INTELLIGENCE.
LAMBOURNE COURSING MEETING,
DEC. 23 and 24.

The Cup for 16 dogs was divided between Mr. Cottrell's
Smolensko, and Mr. Bowles's Bank of Elegance.
The Plough Stakes, fur 16 dogs, were divided between
Mr. Skurry's Wrinkle, and Mr. Burnett's Batson.
The Craven All-aged Stakes, were divided between
Mr. Bowles'► Birthday Queen, and Mr. Lawrence's The
Libel.

The Ashdown Park Dog Puppy Stakes, were divided
bo„:n Mr. Pyke's Pewsey, and Mr. Ferris's Traveller.
t:„.:l..ve.n Bitch Puppy Stakes, were divided be-
tween Mr. Pauline, snd Mr. Bowler's Bronze Star.
The Latnl3ouri?, Jl_ll- aged Stakes, were divided between
Mr. Lawrence's Lothari:p and Mr. Jenner 's Fop.

THE HERTFORD ELECTIOIio--The writ for the
election of a knight of the shire for tijs county arrived on
Thursday night, and was proclaimed pubiiely at the Town-
hall, and on the Old-Cross, on Friday morning, The nomi-
nation is fixed for Thursday, the Bth of January:--Hertford
Mercury.
Naval, UNJFORNI.—An addition to the naval uni-
form is intended to be made in the introduction of a frock
coat, made double-breasted, with stand-up collar, to be worn
with straps on the shoulders, similar to those worn by the
military.—Deropport Telegraph.
FROST AND OTHERS.—The latest letter received
from Van Diemen's Land, at Pontypool, states that Geed],
the expatriated solicitor, was in July last, keeping a school
in a small cottage at Hobart Town. Frost was actively em-
ployed as a clerk in the same town, and Jones had left off
driving a stage coach, and was then engaged at his trade of
wat ch m aker.-21/onnzonthshire Merlin.
MERTIITR.—WAGES.—It is now definitively ar-
ranged that the colliers and miners of Cyfarthfa are to have
an advance in their wages of 10 per cent. The operatives of
Dawlais, Penydawan, and Plymouth, will be advanced at the
same rate.—Monmouth Merlin.