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Laurent Tailhade has an admirable passage in his Platres et Marbres, which is well worth reproducing in this connection: "Toutefois, les Hellènes, dans, leurs cités de lumière, de douceur et d'harmonie, avaient une indulgence qu'on peut nommer scientifique pour les troubles amoureux de l'esprit. Plus tard, le christianisme enveloppa les âmes de ténèbres. Ce fut la grande nuite.
This is what gives such amazing charm to the long colloquy between the flute, the oboe and the clarinets, which always surprises and arouses the listener, in the andante of the same symphony. Fétis in his Traité d'Harmonie inveighed against this delightful passage. He admits that people like it, but, according to him, the author had no right to write it and the listener has no right to admire it.
They have already laid the principal foundations of a body of elementary works for teaching them in perfection. Les Principes elementaires de Musique, and a Traite d'Harmonie, which is said to have gained the universal approbation of the composers of the three schools, assembled to discuss its merits, are already published.
Reicha, Berlioz's first teacher, had the original idea of playing drum taps in chords of three or four beats. In order to try out this effect, he composed a choral piece, L'Harmonie des Sphères, which was published in connection with his Traité d'Harmonie. But Reicha's genius did not suffice for this task. He was a good musician, but no more than that.
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