Berlioz in England. A Centenary Retrospect Author(s): F. G. E. Source: The Musical Times, Vol. 44, No. 725 (Jul. 1, 1903), pp. 441-449 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/903852 Accessed: 15-12-2015 20:31 UTC

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This content downloaded from 130.237.29.138 on Tue, 15 Dec 2015 20:31:01 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JULY I, 19o3 441 '' and the' Ouverture THE MUSICAL TIMES des Francs Juges,' two works which, as Mr. Dannreuther has well said, 'are more than AND SINGING-CLASS CIRCULAR. sufficient to show that he was already the master of his masters, Cherubini of course 1903. excepted.' JULY I, Moreover, he was repeatedly plucked in the examinations for prizes in composition! But in I828 he took the second, and finally (in 1830) the BERLIOZ IN ENGLAND. first prize-the ' Prix de Rome,' the blue-ribbon A CENTENARY RETROSPECT. of the famous French music-school. At the end One hundred have come and since of his three years' sojourn in Rome, Berlioz years gone returned to it difficult to Louis (his first name is where, finding omitted in all the made obtain a means of existence by composition, he nearly dictionaries) took to articles in the and his entry into the world. He was born at writing newspapers La C6te a small town near gave occasional concerts. His contributions to Saint-Andr6, the des Debats afforded full for the Grenoble, France, on December 11, Journal scope Berlioz a wished1803. his exercise of his remarkable literary gifts, and he pire, country doctor, had the additional in the son to follow the medical profession, but all to advantage-not always no At the of Hector was purpose. age eighteen, :? sent to Paris as a medical student, but the ~ ghastly experiences of the dissecting-room so 111~1:: repelled the imaginative young man that he F forsook the healing art for that of music. He c~ entered the Conservatoire de and Musique tO#~El~i( studied under Lesueur for composition. (The only instrument Berlioz could play was the Rria?rl guitar !) His parents entirely disapproved of this change of vocation on the part of their son. A violent quarrel with the 'old people' -: at home resulted in a stoppage of supplies, which the wilful man to earn compelled young :::- a scanty livelihood by singing in the chorus of an obscure Parisian theatre. A Bohemian side- :;:-: light on those early days is furnished in the -?a; Musical World of December 15, 1837. The extract is specially interesting as being one of the ~s~ F~:::::::::1P~I~: ;, :::::~: ':~-l:-ili:i:,::-~i:'; earliest references to Berlioz in an English musical journal. It forms part of an article 2; I--;?-$":-~ entitled ' Music in Paris in 1837 (Ella's Musical Sketches, does not MS.).' Ella, by-the-way, Cabman: Cab, sir? give the name of his informant:- Old Gentleman: My friend, I can see that you are speaking, but I cannot hear a word I have come The early history of Berlioz is romantic and may you say. just not be void of interest to the reader. He was first from a concert given by Monsieur Berlioz. known to my informant as a chorister in a minor (From Charivari.) theatre; his reserved manners made him unsocial equipment of musical critics-of possessing a and unpopular with his comrades; by the musicians technical of the which of the band he was remarked as eccentric in appear- knowledge subject upon ance, always proficient in his duties, and yet anxious he wrote. to elude particular notice. My informant from As a composer and as a man Berlioz was not motives of curiosity sought the acquaintance of this popular in Paris, nor indeed in France. No recluse, and one day adjourned to a neighbouring man was more abused or and his estaminet to discuss divers matters on music and sip caricatured, the beverage of a 'Demie tasse.' The humble compositions were regarded as the outcome of a chorister produced from his pocket a bundle of MS. more or less disordered brain. He endeavoured scores of descriptive overtures and dramatic scenes, to obtain a Professorship at the Conservatoire, and amidst the fumes of tobacco, the rattle of but in vain; the with which his billiards and dominoes, endeavoured by singing the only posts motivi of the various movements to interest his distinguished name and his Alma Mater are companion. When he arrived at a particular officially associated were the appointments of the sedate and passage, sullen chorister, having Conservateur (1839-I850) and Librarian (1852- waxed warm and earnest in his gesticulations, His are too well known- exclaimed 'IVoilA! le climax! ' and down went his 1869). compositions fist, smashing all the crockery upon the table. and we may add appreciated-to need further reference, and his writings-which include the So hot-headed and unconventional a pupil as 'Treatise on Instrumentation,' a branch of the Berlioz was regarded with little favour by the art in which he was so consummate a master- powers-that-be at the Conservatoire, in fact possess quite a literary charm. After a Cherubini, the director, positively hated him. strenuous existence of sixty-five years, Hector During his studentship he composed the Berlioz died at Paris, March 8, 1869.

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Much of an In Memoriamn nature will be received with hardly less enthusiasm than his written about Berlioz during the remaining German contemporary Mendelssohn. months of this centenary year. Not a little of By his marriage with Miss Harriet Smithson this will recapitulate what is well known con- (18oo00-1854), the distinguished Irish actress in cerning him biographically, and there will be Shakespearean parts, Berlioz became closely put forward a certain amount of impressionist connected with these isles. The marriage criticism that is of doubtful value. Therefore took place at the British Embassy, Paris, we venture to strike out a new path, one that on October 3, 1833, one of the signatories should have special interest for English readers, to the register being Franz Liszt, as will be in giving some information concerning the seen from the subjoined official copy of the visits of the eminent French composer to marriage certificate, specially procured for the the land of 'Rule, Britannia,' where he was purpose of this article.

(Page 120.) Marriages solemnized in the House of His Britannic Majesty's Embassy at the Court of France in the year 1833. Mr. LOUIS HECTOR BERLIOZ of the Town of C6te Saint Andre in the Department of Isere France-Bachelor, and HARRIET CONSTANCE SMITHSON of the Parish of Ennis in the County of Clare Ireland-Spinster, were married in this House by Licence this third day of October in the year one thousand eight hundred and thirty-three By me M. H. LUSCOMBE, Chaplain. L.H. H. BERLIOZ This marriage was solemnized between us C SMITHSON

In the presence of BERTHESTRITCH JACQUESHENNER ROBERTCOOPER F. LISZT No. 359. 3 A. P. Inglis Esqre His Britannic Majesty's Consul-General at Paris do hereby certify that the foregoing is a true and faithful Copy of an Entry in the Register Book of Embassy Marriages kept at the British Consulate at Paris in France. Witness my Hand and Seal, this seventeenth day of June 1903. A. P. INGLIS (Stamp) g Consul-General Paris. Pa ris

The Court Journal of October 12 rather cruelly There is considerable risk attending any refers to the ill-fated union in these words:- statement as to the first performance of a Berlioz in But the Societa Miss Smithson was marriedlast week, in Paris, to composition England. deserve credit for their Delrioz (sic), the musical composer. We trust this Armonica enterprise in marriage will insure the happiness of an amiable introducing the master's works to English young woman, as well as secure us against her re- audiences. The programme of the concert on the boards. given appearance English on March 30, 1840, included- Overture-Des Francs An incident of those Parisian is Juges (first time of amusing days performance) Berlioz. recorded by Harriet Smithson's fellow country- man, the and Alexander On June I, 1840, the same Society performed the genial witty George and later in the Osborne, who in a most paper on his 'Waverley' Overture, year interesting the ' Lear ' Overture was heard friend Hector Berlioz said-': (December) King for the first time in this country at some concerts Miss Smithson was much admired and sought at the Princess's Theatre. The ' Francs after. I rememberbeing at a public ball [at Paris], given and while walkingwith her leaning on my arm, we Juges' Overture was also performed by the were stopped by Mdlle. George, the great French ' unrivalled band of sixty wind instruments, con- tragedian,who took my other arm, making me look ducted by Mr. Godfrey,' at the 'Promenades like an urn with two handles as we paced up and Musicales' at the Gardens in down the room. Many were the winks and nods I given Surrey May received, one gentlemanloudly remarking,' Look at and June, 1841. These performances by out- that monopoliserof tragedy.' siders doubtless drew the attention of the Phil- harmonic Society's directors to the existence of *' Musical Association Proceedings,' February 3, 1879. the French composer, then thirty-eight years of

This content downloaded from 130.237.29.138 on Tue, 15 Dec 2015 20:31:01 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JULY I, 1903. 443 age, as the programme of the Philharmonic soon became as valueless as the paper on which concert of March 15, 1841 (conducted by Charles they were written. Berlioz, however, viewed Lucas), included-- the whole thing through the rosiest coloured Overture-Benvenuto Cellini (first time of spectacles. Writing to a St. Petersburg friend performance in London) Berlioz. on November io, 1847, soon after his arrival in London, he says* :- These records of early performances prepare the way for giving an account of the first visit of You can have no idea of my existence in that Hector Berlioz to England. infernal city [Paris], which pretends to be the centre Berlioz arrived in London on November 6, of art. I have just escaped from it, I am glad to say. two after the death of Mendelssohn. Here I am in England with an independent position, I847, days financially speaking, such as I never hoped to attain. He was engaged by Jullien to conduct a season I am entrusted with the direction of the orchestra of

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THE HOUSE IN WHICH HECTOR BERLIOZ WAS BORN. (From the Musical Museumof Mr. Nicholas Manskopf,Frankfort-on-the-Main.) of English Opera at Drury Lane Theatre. The the Grand English Opera about to open at Drury agreement between the impresario and the com- Lane in a month's time; more than that, I am poser (printed in full in Mr. engaged for four concerts to consist exclusively of Joseph Bennett's my works; and, in the third place, to write an opera monograph on Berlioz, p. 84) informs us that in three acts destined for the season of 1848 . Berlioz was to be remunerated at the rate of The Director [Jullien] is prepared for any sacrifice, [400 for three months' services, &c., while a and will look to the second year only to recoup himself. .. The chorus and orchestra are companion 'treaty' stipulated for a grand opera from the of the splendid. We shall not begin my concerts until pen composer-conductor for January; I think they will go well. Jullien, our which he was to receive the sum of {8oo on the completion of seventy performances. In a * The extracts from the London correspondence are mInainlytaken manner from the 'Life and Letters of Berlioz.' Translated from the French typically Jullienesque these documents by H. Mainwaring Dunstan. London: Remington & Co. 1882.

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Director, is a bold and intelligent man who knows of an essentially refined and sympathetic character: London and the English people better than anybody. he is a very good musician, his face is very expressive, He has already made his fortune, and has taken it and he acts with all the national vigour of an Irish- into his head to make mine. I am going to let him man. On my appearance in the orchestra the whole do it, because, to achieve it, he is anxious only to house gave me a most cordial reception. To begin employ those means which are sanctioned by art and with, we played the lovely ' Leonora' Overture (No. I) good taste. But I have no great faith in his success. by Beethoven superbly. . . I am going to begin rehearsing my symphonies The sentence last was all too six weeks in advance, as soon as the orchestral parts quoted prophetic and the score of Harold ' reach me. as we shall presently see. In another letter- ' written to Morel in Paris, and dated '76, Harley The next letter to Morel-dated Street, November 30, 1847 '-Berlioz gives some 'London, interesting glimpses of London life in these January 14, 1848'-tells of hard work, the influenza, the pricking of the Jullien bubble, words:- and the disillusionment of Berlioz :- . We. shall not begin for a week yet. 'The Bride of Lammermoor' cannot fail to go well with I am working here like a mill-horse, rehearsing Madame Gras and [Sims] Reeves. Reeves has a every day from noon until four o'clock in the after- sweet, natural voice, and sings as well as the fearful noon, and conducting at the opera from seven o'clock English language will let him. till ten at night. We only ceased rehearsing the day . The. . orchestra is superb, and, except for a before yesterday, and I am just beginning to recover certain want of precision in the wind instruments, a from an attack of influenza, which made me rather better one could not be found anywhere. We have anxious so long as I was exposed to the fatigue and 120 chorus-singers, who are also very good. the draughts of the theatre. Everybody welcomed me very warmly when Jullien, You have doubtless already heard of the horrible at one of his promenade concerts, played the mess in which is involved, and all of us with ' Jullien Invitation ia la valse.' The orchestra gave me him. Nevertheless, as it is important that his credit an ovation, and the public insisted upon a repetition in Paris should be damaged as little as possible, do of--Weber !* not mention to anybody what I am going to tell you. . I am horribly bored in the charming rooms His loss of fortune is not due to the Drury Lane taken for me by Jullien. I have, moreover, received enterprise; it was all gone before that commenced, any number of invitations since my arrival, and and he no doubt reckoned upon large receipts to pull your friend, M. Grimblot .. has introduced me him through. He is just as reckless as when you to his club; but God only knows the amusement to knew him; he has not the remotest idea of the be extracted from an English club. Macready gave necessities of a lyric theatre, nor even of those plainly a magnificent dinner in my honour a week ago. He incidental to thoroughly good musical performances. is a charming man, and, in private life, devoid of He opened his theatre without a single scorebelonging all pretension. to him, and with the exception of Balfe's opera, which he has been compelled to have copied, we are living The opera season opened (at Drury Lane) just now upon the good nature of Lumley's agents, on December 6 with Donizetti's 'Lucia di who lend us the orchestral parts of the operas we Lammermoor,' sung in English, in which Sims perform. Reeves - described as ' the new tenor' - at At the present time ullien is on tour in the provinces, making a lot of money by his promenade once made his mark, and gave great satisfaction concerts. At the theatre here our nightly receipts to Berlioz. From a notice of the performance amount to a respectable total, and, to make a long contributed by ' D. R.' (Desmond Ryan) to the story short, after having been made to consent to a Musical World of December i we extract reduction of one-third of our salaries, we are not i, 1847, receiving any pay at all. The chorus, the orchestra, the following :- and the workmen only are paid every week to keep The orchestra was heard to great advantage in the theatre going. Jullien, however, sold his music- Beethoven's Overture to ' Leonora,' which, wherefore selling business in Regent Street a fortnight ago for we could not discover, preceded Donizetti's opera, two hundred thousand francs, but I cannot succeed M. Berlioz, deeply versed in the scores of Beethoven, in getting paid, and the leading actors and actresses, directing it with wonderful animation. the scene-painter, the chorus and ballet masters, the The new conductor, M. Hector Berlioz, established stage-manager-in short, everybody is in the same on Monday night his continental fame as one of the plight that I am. Can you understand such a state greatest living chefs d'orchestre. The highly efficient of things? Nevertheless, he protests that we shall and artistic manner in which he ruled the mass of not be losers, so we go on . instrumentalists under his baton was deserving of all My concert is still announced for the 7th of praise. His conducting was marked with great February. I have not cared about having any fresh decision and energy, and he exhibited that spirit and rehearsals for the last few days, but, come what may, animation which proved him a true enthusiast in his I shall resume them next Thursday. We are now in art. It was hardly possible for M. Jullien to have great hopes that the theatre will not be closed, selected a more able and competent chef than thanks to a loan arranged by a music publisher for M. Hector Berlioz. Mr. Gye, who is Jullien's representative during his absence. In a second letter to Morel, Berlioz waxes If Jullien does not pay us when he comes back, I enthusiastic about his first before an shall endeavour to come to some arrangement with appearance Mr. Lumley, and give my concerts at Her Majesty's, English audience. He says:-- because there is an advantageous position ready to I must tell you that the inauguration of our Grand my hand here, the position left vacant by the death Opera was an immense success; the entire English of poor Mendelssohn. Everybody is telling me so press combined to praise us . . Reeves is a price- from morning to night, and the press and the per- less discovery for Jullien. He has a charming voice, formers are alike well disposed towards me. The two rehearsals I have had of ' Harold,' the' Carnaval Romain,' and two parts of have already * This promenade concert took place at Drury' Lane Theatre on Faust,' November 16, 1847, when Weber's 'Invitation la valse,' in its made them open their eyes and ears, so that I have orchestrated form by Berlioz, was announced as for 'the first time,' every reason to believe that I ought to make a good the reference being of course to England. position for myself here.

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BERLIOZ CONDUCTING A CONCERT OF THE PHILHARMONIC SOCIETY, PARIS. CARICATURE BY GUSTAVE DORA, DRAWN AT THE AGE OF 17. (From Le Journal pour rire.)

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Further London experiences as interesting as PART II. they are amusing are related in the following The first and second acts of the lyrical drama of 'Faust.' Soloists: Mr. Sims Reeves, Mr. Gregg, letter to M. Alexis Lwoff, of St. Petersburg, and Mr. Weiss. composer of the Russian National Anthem. PART III. The date of this communication is 'London, Cavatina (Benvenuto Cellini) January 29, 1848':-. Madame Dorus Gras. of idiots, if knew into what a nest Chorus of Souls in Purgatory (Requiem). Talking you only Funeral Oration and the Finale of them I have fallen here! God only knows who Apotheosis; being of the Triumphal Symphony composed for double directs the director of this unfortunate theatre! It is called the of the Grand Orchestra and Chorus expressly by order of the Royal Academy Music, French Government, on the removal of the remains English Opera, and ever since it opened, that is to for two I have done but conduct of the victims of July; and on the inauguration of say months, nothing the Column of the Bastille. Donizetti and Balfe, Lucia,' 'Linda di Chamounix,' ' The solo part performed by Herr Kcenig on the and 'The Maid of Honour' [Balfe]. We had a alto trombone. superb orchestra, but our director has taken the cream of it with him into the provinces, where he is The following notice of this initial concert concerts, and we have to content giving popular from the Musical World of February 12, 1848, ourselves with what he did not want, and keep the that the ball rolling all the same. speaks for itself. After stating ' recep- I hear arguments about music, the public, and the tion awarded to M. Berlioz by the English artists which would make the four strings of your public was highly flattering, and his success as violin break with anger, if they could only hear brilliant and decided as his most enthusiastic them. I have to listen to English lady singers, who could have the critic all would make the hair of your bow twist itself into a disciples desired,' (in knot. probability Mr. J. W. Davison) goes on to I am engaged here also for four concerts, and shall say : the first next the of We give week, 7th February. The band and chorus, conducted by M. Berlioz, have not yet been able to get the whole orchestra erected the numbered about two hundred once for rehearsal. These come upon stage, together gentlemen and fifty performers, who exerted themselves with and go when they please-some in the middle of the zeal to their for the com- others before a fourth is finished. unparalleled testify respect rehearsal, part poser whose works they were interpreting; and a On the first day I had no French horns at all; on the more and was second I had three, on the third I had who perfect magnificent performance two, perhaps never listened to. The band was as one went away after the fourth piece. That is the the and of which the have in this of instrument, upon strings pipes way they country understanding conductor seemed to be playing. By the way, we subordination . . mention here that M. Berlioz realized his I have been ill and confined to bed for the last may fully my continental celebrity as a chef d'orchestre; his beating five days with a violent attack of bronchitis, brought was and and the mass of instru- on and And there emphatic intelligible, by anger, disgust, annoyance. yet mentalists followed the slightest indication of his is so much to be done here, for the public are both the minutest shade of which he attentive and and baton, expression intelligent, really appreciate desired to obtain, with marvellous accuracy. The serious music. solo Madame Dorus Gras, Messrs. Sims I have heard Mendelssohn's last singers, poor oratorio, Reeves, Weiss, and Gregg, exerted themselves with Elijah. It is magnificently grand, and indescribably zeal. in praiseworthy sumptuous harmony. Not a little of the unusual excellence of this per- formance is due to the highly favourable impression Berlioz relates the following characteristic which M. Berlioz has known how to produce among anecdote of The of the members of his orchestra, by his polished and Jullien. possibility pro- courteous manners; no conductor that ever entered ducing Gluck's 'Iphigenia in Tauris' was under an orchestra was more affable in his demeanour, or discussion, and Berlioz was asked to give an more gentlemanly in his conduct. M. Berlioz outline of the characters, plot, dresses, respects and loves his orchestra; and herein he scenery, shows himself a man of head no less than for &c. When he stated that in Act 4 Pylades heart; enters with a helmet on his without the means of expression how could a com- head, Jullien ex- poser communicate his genius to the world? The claimed in an ecstasy of delight: ' A helmet? orchestra is the voice which the dumb musician is We are saved! I shall order a gilt helmet from compelled to borrow in order to tell mankind of the Paris, with a coronet of pearls and a tuft of great thoughts that stir within him, of the impressions ostrich feathers as as and he receives from natural phenomena, of the move- long my arm, we shall ments of his heart and being, under the ever-changing have forty representations.' No wonder that influence of passion. None understands this better Berlioz exclaimdd ' Pro-di-gious ! ' than M. Berlioz-who has given so many proofs We may now leave Jullien (who soon found of being a poet and a philosopher. his way into the Bankruptcy Court) and refer Berlioz's own account of his concert may now to the first concert given by Berlioz in England. be given. It is taken from a letter addressed to This event took place at Drury Lane Theatre on his friend Auguste Morel, and dated 'London, the evening of February 7, 1848. Here is the February 12, 1848' : one-man (and the great man) programme:- Not until to-day have I had time to write to you. My concert came off last Monday with brilliant PART I. success; the performance was a magnificent display of animation, and We had five Overture to the Carnival of Rome. power, precision. rehearsals for the orchestra, and eighteen for the Romance 'The Young Shepherd' (words by chorus. My music has taken with the English M. de Vere). Miss Miran. public like a match to gunpowder; I was recalled after the concert. As usual everywhere, the Harold in Italy-symphony in four parts, with 'Marche Hongroise' and the 'Schne des Sylphes' solo on the Tenor, performed by Mr. Hill. were encored. Everybody of note in the musical

This content downloaded from 130.237.29.138 on Tue, 15 Dec 2015 20:31:01 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JULY I, 1903. 447 world was at Lane Drury on the occasion, and the Although Berlioz failed to ' catch' his salary majority of the prominent artists came and con- he did not catch it' from gratulated me after the concert was over. They did certainly ' the music not expect anything of the sort; they anticipated critics of the London press, who, for a wonder, diabolical, incomprehensible, and harsh music, seem to have been well disposed to the new devoid of charm. We shall see what line our Paris man and his novel methods. He further writes critics will take now. Davison himself wrote an article for The Times, half of which was shut out for (from London) apropos of his concert and the want of space, but the portion that did appear has English press:- produced an effect. I do not know what he really Life in London is even more absorbing than in thinks; with opinions such as his, there is no Paris; everything is in proportion to the immense knowing [!]. Old Hogarth, of the Daily News, was size of the place. in a most comical state of agitation. ' My blood is I get up at noon; at one o'clock come visitors, all on fire,' he said to me; ' never in my life have I friends, new acquaintances, and artists furnished

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MADAME BERLIOZ. a (From scarce print in the Musical Museum of Mr. Nicholas Manskopf, Frankfort-on-the-Main.) been excited by music in this way.' I am casting with introductions. Whether I like it or not, I lose about now to find out how I can give my second three good hours in this way. From four to six I work ; concert. As Jullien is no longer paying his musicians if I am not invited I out then and dine or his I anywhere, go chorus-singers, dare not expose myself to the at some distance from my lodgings. I read the papers, danger of finding them fail me at the last moment. and after that the hour for theatres and concerts Last night, after 'Figaro,' the desertion began. The arrives, and I stay listening to music of one sort or French horns gave me notice that they would not another until eleven o'clock. Three or four of us appear again. And my salary is wandering about then betake ourselves the together somewhere, and country-Heaven only knows whether I shall smoke until two in the You know, more ever catch it ! morning. or less, all about the unexpected and tumultuous

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success of my concert at Drury Lane. In a few The season of the Philharmonic Society com- hours it disconcerted all conjectures, favourable or menced the day before yesterday. They played a hostile, and overthrew the whole fabric of theories symphony by Hesse (the organist of Breslau), very as regards my music which had been constructed well written, very cold, and very useless; another in here upon the preposterous Continental criticisms. A [the Italian Symphony] by Mendelssohn, admir- The whole of the English press, thank goodness, has able, magnificent, and in my opinion, very superior pronounced in my favour with extraordinary warmth, to the one, also in A [the Scotch], which was given and, except Davison and Gruneisen, I did not know a in Paris. The orchestra is very good; except in single critic. regard to a few of the wind instruments, no fault can It is different now; the principal among them be found with it, and Costa conducts it perfectly. have called upon me, and have written to me, and Nobody would believe that the Society have not there is frequent and cordial communication between invited me to contribute to its concerts, but it is us. It is a long time since I felt so truly pleased as nevertheless true. It is said that they will be driven I did when I read the article in the Atlas, which I to do so by the newspapers and their own committee. sent to Brandus, and which he has not had trans- But I shall be very cautious about putting myself in lated. It is by Mr. Holmes, the author of a ' Life of the velvet paws of the pig-headed old men who Mozart,' very popular here. Mr. Holmes came with manage that institution. the idea that he should hear harsh and stupid music, nonsense, &c., &c. He then refers to the possibility of a permanent You would have been very pleased with this great residence in Engand. What if this had come to victory, I assure you. We must now pursue the pass ?:- and not fall at enemy, asleep Capua. If I were to begin to write about all these The criticism of Edward Holmes which so trivialities I should take up too much of your time, greatly pleased Berlioz speaks well for his and you can very easily imagine them. Briefly, I intuitiveness and It is much shall remain here as long as I can, because it takes a outspokenness. make a for to be in but the long time to position oneself. Fortunately, too long quoted full, opening circumstances are in my favour. Sooner or later paragraph must be given as showing the the position will come, and I am told that it will generous spirit in which it was written, and also be a solid one. that there were competent musical critics in Berlioz his second concert-this time at London gave half-a-century ago:- the Hanover Square Rooms-on the afternoon CONCERT OF HECTOR BERLIOZ. of The included a Since the June 29, 1848. programme first production of ' Fidelio' in England of the Harold in we have listened to nothing with such excitement and repetition ' Italy' Symphony- enthusiasm as to some of the compositions of M. that distinguished artist Mr. Hill (uncle of the Berlioz, performed in his very interesting concert on Messrs. Hill, of New Bond Street) again Monday at Drury Lane. The discovery of a new the viola Carnaval in the performing obbligato-the ' pen the art, exercised in highest and most Romaine' selections some serious departments of music, with all the grave Overture, from' Faust,'' intention of a Beethoven or a Gluck, and in this lofty songs, and Weber's ' Invitation la valse,' and independent walk realising effects which delight orchestrated by Berlioz. The newspapers had and the the imagination warm sympathies of the not to report the prevalence of empty benches- hearer, is no slight event. We the more cordially and London contained half the acknowledge the powerful impression made upon us only population by this first hearing of the compositions of M. Berlioz, it does now; on the contrary, we learn that ' the because we went among the most mistrusting and audience was crowded with well-known amateurs infidel of the audience. Detraction and false and professors of music; scarcely anyone criticism in professional whispers and newspaper eminent as a lover or of the art was paragraphs had predisposed us to expect a critical practitioner penance on the occasion; and this, coupled with a absent.' Nothing could be more appreciative somewhat pardonable unwillingness hastily to believe than the criticisms passed upon this second in original genius, or that the implements of the great concert, and Berlioz seems to have approached German masters had passed in reversion to a to Mendelssohn in the rendered us of but very closely winning Frenchman, anticipative anything hearts of the pleasure. Surprise and gratification were complete, English people. as all these prejudices were dispersed before the It is interesting to find him as a specially beautiful, the original and poetical effects of the invited guest at the annual dinner of the Royal music; and we can only say that if Berlioz is not of Musicians held on Beethoven-he who can maintain such an of Society February 22, activity he was honoured with a toast.1848. attention during four hours by the frequency of Moreover, special original and interesting conceptions, must be a To quote from the account of the banquet in the worthy follower of that master, and a poet-musician Morning Post.:- of no common We left the house with an stamp. The health of the celebrated Hector Barlioz (sic) earnest desire to hear the whole of the music again, was drunk amidst the cheers of the room. He and as soon as possible. .. (Atlas, February 12, 1848). replied in French that the honour conferred upon A continuation of the letter of March I5, him by such a meeting was as heart-cheering as it the the extract-furnishes was unexpected; that he had been received by 1848-interrupted by Atlas artistes of England with almost fraternal affection, and us inter ulia with Berlioz's opinion of the that his brethren of the press had warmly held forth Philharmonic Society:- to him the warm hand of fellowship. The directors of Covent Garden want to arrange We find that he did not disdain to conduct his a Shakespearian concert, composed of 'Romeo, ' King Lear,' the ' Ballade sur la mort d'Ophilie,' and Hungarian March (' Faust') at a concert given 'The Tempest.' We had a meeting on the subject the by the Amateur Musical Society, and that he day before yesterday, and I then told them that Iwould attended the concerts of the Sacred Harmonic not consent to organize the performance on any terms and Musical Union-in fact he seems whatever, unless they guaranteed me fifteen days' study Society for the voices, and four rehearsals for the orchestra. to have entered con amore into the musical life of They are now seeing how they can manage this. the Metropolis in the eventful season of I848.

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Chopin was here-most probably he and Berlioz THE APOSTLES. met-as were also Thalberg and Charles Hall6. In THE The Illustrated London News of February 12, 1848, the April issue of MUSICAL TIMES contained a portrait of Berlioz, and the letterpress (page 228) an outline was given of the libretto of Dr. new accompanying it referred to him as 'an excellent Elgar's oratorio composed for the classic scholar, a choice wit, and full of fine approaching Birmingham Festival, with a enthusiasm.' promise of furnishing some details of the music Berlioz remained in London for a period of at a future time; this promise we are now able to fulfil. eight months. A pleasant revoir found au In out expression in the Musical World of July 8, laying his oratorio the composer has had in view 1848:-- the fact that the chorus is an Hector Berlioz returns to covered with intellectual force, and not a body of people more I Paris, laurelsacquired in unmusicalEngland,' early in the or less interested in what is going on who are next week. Berlioz came here unknown and merely called upon to utter reflective com- unrecommended,except by the glory of his name; mentaries on the action. he leaves behind him many friends,who will ever be anxious to hear of his progress,and will look forward The work is written, as is usual with Dr. Elgar, with sincere pleasure to his next appearance in on the leit motif plan. The composer, as in his London. previous oratorio, has utilized-or perhaps it How different from the farewell (in 1855) to would be more accurate to say has reflected-the Wagner! spirit of some of the Gregorian tones. An That Berlioz was highly gratified and deeply example of this will be found in the theme sensible of the kindness shown to him in representative of the Apostles themselves, taken England is recorded in a letter written by him from the Gradual ' Constitues eos,' in which to the Morning Post of July Io, 1848, and which power is promised to them and to their successors we quote from the English translation furnished for all time. It stands thus in its original by the Athenieum five days later :- form : Sir,-Allow me to avail myself of your journal to in a few words sentiments natural after the - - - - express -@- - • _&c. reception I have met with in London. r i_ __ __ -• - I am about to return into the country which they call France, and which after all is mine. I am going but from its to see in what manner an artist can live there, or resulting Elgaristic metamorphosis how long a time it will require for him to die in the it becomes :- midst of the ruins under which the flower is crushed (Chorus.) The Lord hath cho - sen and buried. But of whatsoever length be the suffering which awaits me, I shall preserve to -o the last the most grateful recollection of your -_- - intelligent and attentive public, and of our - - brothers of the Press, who have so nobly and constantly supported me. I am doubly happy to have been able to admire among them the excellent 8ves.- qualities of goodness, talent, intelligent attention ?-1- combined with honesty in criticism: they are the evident tokens of a real love for Music, and to them, They shall be named the Priests of the Lord the friends of this noble art, now so poor, promise for it a future by inspiring them with a certain assurance that you will not allow it to perish.-The personal question is here only a secondary one; for you may believe me I love music better than my music-and I wish that more of this WP- i- frequent opportunities proving - 3I 9-- had been granted to me. i i 'i i -----"l--Aw--• "~~-.-" '-"-.---7 - -- -- Yes, our muse, affrighted by all the fearful clamours which echo from one corner of the Continent to the other, seems to me secure of an asylum in England; and the hospitality will be all the more splendid in proportion as the host best recollects that The Prologue - beginning with the words one of her sons is the of Music is greatest poets-that 'The Spirit of the Lord is upon me'-opens one of the divers forms of poetry, and that on the with a short orchestral in which same liberty as Shakespeare has employed in his introduction, immortal conceptions depends the development of the following theme, inseparably connected the music of the Future. Farewell, then, all you who throughout the work with the foregoing idea, have treated me so cordially. I leave you with pain is prominent. Here it is:- of heart, repeating involuntarily the sad words of the father of , 'Adieu ! adieu ! remember me.' HECTOR BERLIOZ. The remaining visits of Berlioz to England will be treated of in subsequent issues. We are -!57 indebted to Mr. Nicholas Manskopf for kindly solenne. lending us, from his Musical Museum, Frankfort- on-the-Main, three of our Berlioz illustrations --A and the signature which accompanies the --- 4 W - Special Supplement portrait. F. G. E.

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