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

as skilfny a. any instrument Of the band the absO
lutte command over every sort of rhythm, tho spas
sionate expression" which he himself has called
one Of the dominant qualities of his music, the
astonishingly graphic descriptive power and the
tendency toward realism which appear in his other
works Nor are his characteristic defects wanting
the fatal lack Of taste which 50 often led him
astray, and the want Of sustaining power, which
was 80 apt 10 produce IN his music a commonplace
and trivial phrase after one Of the loftlest ana
purest beauty And even in spite Of the sacredness
of his subject the irrepressible Gallo tendency to
tinsel and claptrap sometimes asserted itself But
along with these qualities, with which we are Ia
miliar enough arc sometimes dignity, sobriety Of ex
preston selfrestraint and even an occasional ODE
dience TO rules and set forms, which Is something
almost without precedent N the works Of this man,
who broke every rule but that single one which he
made for himself" Everything for effect"
How faithfully he adhered to this we shall sce
meanwhile the reason for the apparent divergence
from his customary style IS not far to seek bciol
was prominently a composer Of programme music
he illustrated but be did not create. Originality IN
musical form and expression he had in the highest
degree originality in poetic ideas he was IN great
measure devoid Of The motives of all his great
works were borroWcd-the Romeo and Julet
from Shakespeare the Faust" from Goethe the
- Harold from Byron. the Requiem ana the " lie
Deumr from the liturgy Of the Church. But the
subject once supplied to him. Berlioz adhered To u
with answering fidelity; and though he imposed
upon it something Of his own personality ana 81"
il cOlored and sometimes distorted by his own I'D
animation. bc PAINTED IT. as he conceived 1t to be.
with matches vividness. In this direction there
seemed 10 be no limit TO his powers. His was not
tho genins which could have created such sympho-
MICS rs those Of Beethoven; and though he could
apprcciate and admire such works 60 the utmost, he
| might never hope TO initiate them. But IN ms own
province that of musical illustration, he was WIN
out "a rival No matter what the theme ~ long Is
| il appealed to his imagination, he was sure 70 Ieplo
duce what he understood 20 be its spirit with the
utmost exactncss and he pictured with equal power
| his idea OF the Resurrection OF the Dead "i Tue
orgies of the brglnds in the Harold symphony,
and of the sports of Quccn Nab IN ;he " Romeo ana
| Inlet Consequently his music took on the char
acter Of the subject that he CHANGED TO be portray
inc In the awful themes OF the Mass-Deaih me
Resurrection and the Last Iudgmcnt--he found SUD
,ects with which has morbid and imprssion1hle iih
animation was i'm peculiar sympathy. and II is De
cans, he treated them with entire hdelity' a. he
| understood them. that We find so much III the ne
nuieun that j. surprising and unfamiliar I" VS.. I'VE
| shows but LITTLE sign Of devotional feeling; ana h
the whole work there is not So much purely irhE""'
sentiment as il to be found IN the theme OF the ''
| movement Of Bectlovcns Pastoral symphony bu'
this seems 10 matter little. Every chance that th'
words afforded him for producing an erect he '"'A
advantage of. In the mournfnl prayer Of the open
ing chorus, with It's .wsilrng accompaniment Oh
roofs in the oporwl Ginning Resurrection Fanfare .
in tho broad and noble Rcx Iremcndr "; ID the
| magnificent climax 20 tho Lacrymo,a 10 thc
| lovely accompaniment of the oucrtoTy in the
! Sanctus. with It's pure melody for tenor accom-
| named by female voices in All Of thes" We nave
evidence OF how keen was his instinct in >eizng on
every phrase which lent itself 20 an elective SET
ting. and how great was ms tact IN choosing the
nrecise means by which tie most striking results
could be produced. lie stopped NJ nothing. II 'he
words Of tho Mass answered his purpose be used
Thorn. II they did mot he changed their order or
interpolated Ctners until be had what suited ms
needs 10 a nicely lie adopted the forms OF earlier
Eronnnsors and abandoned them AZ his pleasure. lie
made use of every device which his extraordinary
familiarity with the resources Of the orchestra ana
of the human voice suggested. From end 70 emo OF
the REQUIEM he has made rigorous application ol
his own maxim. Everything for elect and he las
| accomplished precisely what he aimed NJ ior what
ever ia religious devotional character the Mass
Is beyond dispute striking and elective IN u,
bisbcst degree 1t IL gTaudiosc. imposing. o.
majestic proportions. and fSll Of passages Of ncon
testlc mower and impressIycnrSS and II Is. strange
i IN say in great measure free from coccniTciie'
and extravagances. The effects are not all % th'
= largo and imposing sort 10y any means for ber
lioz loved contrasts and knew their value too wei
= for that But though portions Of the work possess
i preat simplicity and grace. and some Of the mum
Q hers. such IA the O0crorum and Santins' arr
ouiet sweet and expressive. the impression "hci
do Mass leaves upou ms Is ia tie main ono Of awe
e and almost Of oppression.
The Requiem las DO instrumental prelude bn
n. Il. ODD
rest. O Lord" moumfd pleading movement
with a sombre accompaniment scored only 10
strings. wood-wind aud horns. IN the Dies Ire
which follows il, the fundamental Them
70 given ont by the double bases an'
the words are taken MP by the SOPRANO
ri,pissimo who are Joined by the other part
: in Turn Tho movement increases in force am
r4piditv til a tremendous climax II reached az th
words ~. e.. ,,,-,...-,4o,
- Shall appear. all secrets trying
I tlo rbr,so ending with rapid upward rush OF I'm
: strings followed by a short pause Then comes ih
4 most powcrfu passage in the whole work
G the Resurrection Fanfare. At the iour cor
] ners Of the stage are placed small OF
r chesras Of brass instruments and instruments o
e percussion. One of these gives ont fanfare whic
Il "a taken up by the three others IN succession, am
C then the BASES thunder out the words from III
creed. which Berlioz has mterpoated, and lie sha
II come again with glory 70 Judge both IN
=. mick and the dead" Then, after IN
# short phrase OF the Tuba mirum" th
sopranos and tenors take mp pianissmo, the words
Il death shall stand IN CONSERVATION while the ba'
W still continues forissimo And al creation rise
is answer the citation The next verso is ,trongl
ID declarned by the BASES accompanied by the Resul
re rcction Fanfare
D. Prom the book shall shine tho writing.
All the hygOno past rccitinc
And the world OF Fin ndicting