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Updated: June 8, 2025


The Conservatoire, which was formerly more hospitable, rather reluctantly performed a portion of L'Enfance du Christ; but it gave young composers no encouragement. There he had performed Mendelssohn's Symphonie Italienne, the overtures to Tannhäuser and Manfred, Berlioz's Fuite en Égypte, and Gounod's and Bizet's early, works. But lack of money cut short his efforts. Pasdeloup took up the work.

We have seen in one of the earlier chapters how little Chopin approved of Berlioz's matter and manner; some of the ultra- romanticist's antipodes did not fare much better. As for Halevy, Chopin had no great opinion of him; Meyerbeer's music he heartily disliked; and, although not insensible to Auber's French esprit and liveliness, he did not prize this master's works very highly.

Berlioz's passion was at once rekindled. This time Henrietta accepted his advances. He made alterations in his symphony, and offered it to her in homage of his love. He won her, and married her, with fourteen thousand francs debt. He had captured his dream Juliet! Ophelia! What was she really?

The ceremony took place immediately, and thus commenced a connection which hampered and retarded Berlioz's career, as well as caused him no little personal unhappiness. When Mme. Berlioz recovered, it was to find herself unable longer to act, as her leg was stiff and her movements unsuited to the exigencies of the stage.

It reminded me of Berlioz's reply to the bourgeois who wanted his son to be made a "great composer." "Let him go into the army," said Berlioz, "and join the only regiment he is fit for." "What regiment is that?" "The regiment of colonels." In the course of the evening a report was brought out from Ennis to Colonel Turner. He read it, and then handed it to me, with an accompanying document.

People find fault with Berlioz's continual complaints; and I, too, find in them a lack of virility and almost a lack of dignity. To all appearances, he had far fewer material reasons for unhappiness than I won't say Beethoven Wagner and other great men, past, present, and future. When thirty-five years old he had achieved glory; and Paganini proclaimed him Beethoven's successor.

I have read somewhere that Liszt used pages to produce an effect which Berlioz accomplished in the apparition of Mephistopheles in Faust with three notes. This comparison is unjust. Berlioz's happy discovery is a work of genius and he alone could have invented it. But the sudden appearance of the Devil is one thing and the depiction of Hell quite another.

The dramatic symphony that he created flourished in its German form under Liszt; the most eminent German composer of to-day, Richard Strauss, came under his influence; and Felix Weingartner, who with Charles Malherbe edited Berlioz's complete works, was bold enough to write, "In spite of Wagner and Liszt, we should not be where we are if Berlioz had not lived."

She would have liked to go into the garden; but she did not know the rules of the convent, and feared to transgress them. However, she was free to go to her room. The books she had brought with her would help her to get through the morning. Berlioz's Memoirs I The faded voices she had heard that morning singing dreary hymns were more wonderful than his orchestral dreams.

In the Ride to Hell, which concludes Berlioz's "Damnation de Faust," the infernal horsemen are greeted with shouts in a language which the mystical Swedenborg says is the speech of the lower regions. Boito also uses an infernal vocabulary. His witches screech "Saboe har Sabbah!" on the authority of Le Loyer's "Les Spectres."

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