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Updated: June 1, 2025
In a church or a concert hall we hear a confused and terrifying mingling of sounds, and from time to time we note a change in the depth of tone but we are unable to distinguish the pitch of the chords. I shall never forget the impression this Tuba Mirum made on me when I first heard it at St. Eustache under Berlioz's own direction. It amounted to an absolute neglect of the author's directions.
They may serve for the loves of Tibullus, or the dear Author of the Schoolmistress; for passions that creep and whine in Elegies and Pastoral Ballads. I am sure Milton never loved at this rate. Quid mirum, Leonora, tibi si gloria major, Nam tua præsentem vox sonat ipsa Deum?
Chopin's obsequies took place at the Madeleine Church, and Lablache sang on this occasion the same passage, the "Tuba Mirum" of Mozart's Requiem Mass, which he had sung at the funeral of Beethoven in 1827; while the other solos were given by Mme. Viardot Garcia and Mme. Castellan. He lies in Père Lachaise, beside Cherubini and Bellini.
But Jerome in his fifth division on Consecration often used verses from Virgil and Augustine, this of Lucan's: "Mens hausti nulla" &c. XXVI. quaestio V. nee mirum. And, as a lawyer, he uses the authority of Vergil, ff. de rerum divisione, intantrum § cenotaphium; and also, of Homer, insti. de Dontrahen. emp. § pretium. ...is shown so reasonably, should be read?
"En quoque quod mirum, Quod dicas denique dirum, Sanguinem equus sugit, Neque bellua victa remugit!" "And, yet more strange! his veins a horse shall drain, Nor shall the passive coward once complain!" It is farther asserted, in the concluding lines, that the horse shall suck the lion's blood.
Mirum, quantum illi viro nuncianti haec fidei fuerit; quamque desiderium Romuli apud plebem exercitumque, facta fide immortalitatis, lenitum sit."
At the Offertory, M. Lefebure Vely executed his admirable PRELUDES in SI and MI MINOR upon the organ. The solos of the REQUIEM were claimed by Madame Viardot and Madame Castellan. Lablache, who had sung the TUBA MIRUM of this REQUIEM at the burial of Beethoven in 1827, again sung it upon this occasion. M. Meyerbeer, with Prince Adam Czartoryski, led the train of mourners.
Louder and fuller rose the solemn tones; suddenly, from the midst of the choir, a soft, melting tenor sang in a sweet, touching voice, Tuba mirum spargeus sonum. Frederick's head sank still lower upon his breast, and at last, no longer able to restrain his tears, he covered his face with his hands.
And his restlessness, his ceaseless experiments, his absolute discoveries of new tonalities, his sense of mystic grandeur why here you have, if you will, a Berlioz of paint, a man of cold ardours, hot ecstasies, visions apocalyptic, with a brain like a gloomy cathedral in which the Tuba Mirum is sonorously chanted.
Thus writes Suetonius "prægrandibus oculis, qui, quod mirum esset, noctu etiam et in tenebris, viderent, sed ad breve, et quum primum a somno patuissent; deinde rursum hebescebant." Tib. cap. lxviii. Those who are familiar with the classic historians, will see in this description no exaggeration whatever.
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