=His Genius as an Orchestral Composer=.—Berlioz was the founder of the modern school of orchestration, as well as the pioneer in the art of expressing a definite program in terms of absolute music. Like his great contemporary, Wagner, he was no executant; he played but little and, curiously enough, only such insignificant instruments as the flute, flageolet, and guitar. The orchestra was his instrument and no one has ever had a more unerring instinct for its capabilities either as a whole or in its component parts. In the origination of weird, unearthly effects he had been anticipated by Weber, whom he greatly admired; but he went beyond him in devising bold and daring combinations, which he justified by the end in view, though it cannot be said that a refined taste always finds this end in itself justifiable. For example, in the last movement of his “Fantastic Symphony,” he pictures an execution by the guillotine. A company of witches and demons dance around the headless body and perform a burlesque requiem—the whole supposed to be a nightmare suffered by an artist under the influence of opium. Color rather than outline, thrilling and novel effects of sonority, rhythmical variety and animation, intensity of expression and dramatic climax are the principal characteristics of Berlioz’ music. Yet delicacy and charm are by no means lacking in his works. Irregular in proportion and unequal in inspiration as they frequently are, they undoubtedly entitle him to the distinction of being the greatest composer that France has yet produced. =The Music of the Orchestra= includes Symphonies, Overtures, Symphonic Poems, Tone-Poems and Suites and the Concerto for a solo instrument with orchestral support. The symphony is an elaborated sonata, and the first movement is usually constructed on the principles recognized under the term Sonata-form; the same principles are used in the Overture, which consists of but a single movement. Liszt, in his efforts in the program music style, devised the Symphonic Poem, which aims to present a series of emotional pictures in the Symphonic style, but with the various movements continuous. He advocated deriving _all_ themes from a _common source_, transforming them rhythmically as needed to work out his conception. His successors in this style of music still use the thematic methods devised by the writers in the true symphonic style, but are free in their methods of construction and elaboration. REFERENCES. Grove.—Dictionary of Music and Musicians, articles on the Orchestra and the various instruments used, the Sonata, Symphony, Overture, Suite, etc., and Sonata-Form. Henderson.—The Orchestra and Orchestral Music. QUESTIONS. Why is the orchestra the greatest means for musical expression? Classify the instruments used in the orchestra. What difference is there in the combination of instruments in the modern orchestra and in the first attempts?