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His bold new harmonies in his own compositions, the rich effects, showed a deep knowledge of his art. He had transcribed a number of Berlioz's most striking compositions to the piano and performed them with great effect. The handsome and gifted young artist was everywhere the object of admiration.
The Colonne orchestra and its conductor, gifted with great warmth of spirit, though it is sometimes a little intemperate are rather bothered by works of a classic nature and by those that show contemplative feeling; but they give wonderful expression to Berlioz's tumultuous romanticism, his poetic enthusiasm, and the bright and delicate colouring of his paintings and his musical landscapes.
Berlioz's other great originality lay in his talent for music that was suited to the spirit of the common people, recently raised to sovereignty, and the young democracy. In spite of his aristocratic disdain, his soul was with the masses.
The counterpoint is not so obviously wonderful as in Tristan and the Mastersingers, but only a contrapuntist equal to Bach and Handel could have written such counterpoint. We may gain a clearer idea of what this means if we compare, not to the disadvantage of one or the other, this Ride with Berlioz's "Ride to the Abyss." At first sight, Berlioz seems the more daring.
It is the first time a French musician has dared to think in French; and that is the reason why I warned you of the danger of accepting too meekly German ideas about Berlioz. Men like Weingartner, Richard Strauss, and Mottl thoroughbred musicians are, without doubt, able to appreciate Berlioz's genius better and more quickly than we French musicians.
For with all their faults these works had a marvellous success. The truth is that their vehemence was sincere and not artificial. The Romanticists had faith in their works and there is nothing like faith to produce lasting results. Reicha and Leuseur were, as we know, Berlioz's instructors. Leuseur was the author of numerous works and wrote a good deal of church music.
But it is not so. As too much light may blind the vision, so too much intellect may hinder the understanding. Berlioz's mind spent itself in details; it reflected light from too many facets, and did not focus itself in one strong beam which would have made known his power. He did not know how to dominate either his life or his work; he did not even try to dominate them.
In some places his harmonies have a fine effect, and in others their result is vague and indeterminate, or it sounds badly, or is too elaborate and far-fetched. Yet with Berlioz all this somehow takes on a certain distinction. As soon as the profound originality of Berlioz's music has been grasped, one understands why it encountered, and still encounters, so much secret hostility.
And one has but to compare the "Garden Scene" of "Roméo" with two other pieces of music related to it in style, the second act of "Tristan" and the "Romeo" of Tchaikowsky, to perceive in how gracious a light Berlioz's music reveals him. Wagner's powerful music hangs over the garden of his lovers like an oppressive and sultry night.
And, certainly, "Roméo" manifests unforgettably the fineness and nobility of Berlioz's temper. "The music he writes for his love scenes," some one has remarked, "is the best test of a musician's character." For, in truth, no type of musical expression gives so ample an opportunity to all that is latently vulgar in him to produce itself.
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