New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1881-05-05
TIE pFRIIoz REorIEM.


In the performance of the Borlioz Requiem we
had what Yves not only the feature Of last nights
concert bat the most interesting event Of the fcsti
val. II is not that the Mass for the Dead is the
greatest work on Dr. Damrosoh's srhome. The
messiah and BeethOvcns Choral Symphony.
which are yet to come. both surpass II in import
ance as greatly es they excel 1t IN influence and
reputation. But every work of Berloz's has Docn-
liar interest TO us at this time because Of the re-
vival Of his composition which during the past
three or four years has been in progress in this
country as well as in France and England aud
since we are familiar with him chiefly through the
fantastic DannatiOn of Faust and The poctical
ROMEO and Juliet" symphony, the religious char
acter Of the Requiem, 50 unlike that of either the
sFsust music or the symphony, offers an especial
attraction in that it shows US an entirely new side
of his genius. Like Beethoven, whom he 50 fer
yently admired, BerliOz while living was neither
appreciated nor understood in his own country.
Paisans he had 1t is true. for his nature, full OF
fiery esrnestness, unAinching perseverance and un-
waverinE confidence In himself, was one TO attract
admirers and win supporters; and there were few
enthusiastic like Paganini. who understood his
genius and his aims. and insisted that IN him would
be found second Beethoven. But his friends were
not many. lie alienated many of his contempt
raries by the severity of his criticisms he was pcr
sistently opposed and msrepresented by the musical
authorities Of his time. and the taste of the public,
formed on the sensuOus music Of ROssini and the
Italian school, was in no sympathy with his works.
he was one OF the most daring of innovatOrs, but
no founded no school. for he formulated new set
code OF art rules, like Glutk and Wagner. His
works were the outcome Of his own genius, which
had strong individuality and marked originality.
and they stand alone. He had neither followers
.t.t..- I. A. \.
which he invented and the effects which he con.
trived have been used by all subsequent composers
bis school began and ended with himself His
works were known and admired il Germany long
before his death. and he had the satisfaction Of
being appreciated by the countrymen Of Gluck
Mozart and Beethoven, whom he esteemed above al
musicians But this did not console him for neg
lect ct home. He died with the bitter conscious
nes thst his genius was unapprecated by th'
only public for which he really cared. 1t was mo-
hntil long after his death that any inAerest wa,
shown in his works in France, and IL is only now
Twelve years after the end of his life. and half
sentary after his masterpieces we're written, thai
bis merits have bean freely Acknowledged the world
syer.
Ia 1888. when the Requiem was composed. Der
hea MA d, the full flower Of his genius. lie wal
snsay -twe years old. The Harold Ia Italy sym
phpng haa been produced two years earlier, and
tho hoineo ard Juliet symphony, which marks
eiS h'gnsss development Of bic genius. was first
Ssea 'nIee yean later Composed just at this
.,'nt' Inc heqaea ought naturally 10 exhibit many
ns e5afaeteriHfie qualities. and II does We find
'hs marvellous instinct In the uso Of tho orches-