Great Musical Composers: German, French, and ItalianFerris, George T. (George Titus)
History
Great Musical Composers: German, French, and Italian
Ferris, George T. (George Titus)
Composers
Heinrich Heine, the German poet, who was Berlioz's friend, called him
a "colossal nightingale, a lark of eagle-size, such as they tell us
existed in the primeval world." The poet goes on to say--"Berlioz's
music, in general, has in it something primeval if not antediluvian to
my mind; it makes me think of gigantic species of extinct animals, of
fabulous empires full of fabulous sins, of heaped-up impossibilities;
his magical accents call to our minds Babylon, the hanging gardens,
the wonders of Nineveh, the daring edifices of Mizraim, as we see them
in the pictures of the Englishman Martin." Shortly after the
publication of "Lutetia," in which this bold characterisation was
expressed, the first performance of Berlioz's "Enfance du Christ" was
given, and the poet, who was on his sick-bed, wrote a penitential
letter to his friend for not having given him justice. "I hear on all
sides," he says, "that you have just plucked a nosegay of the sweetest
melodious flowers, and that your oratorio is throughout a masterpiece
of _naïvetè_. I shall never forgive myself for having been so unjust
to a friend."
Berlioz died at the age of sixty-five. His funeral services were held
at the Church of the Trinity, a few days after those of Rossini. The
discourse at the grave was pronounced by Gounod, and many eloquent
things were said of him, among them a quotation of the epitaph of
Marshal Trivulce, "_Hic tandem quiescit qui nunquam quievit_" (Here he
is quiet, at last, who never was quiet before). Soon after his death
appeared his _Mémoires_, and his bones had hardly got cold when the
performance of his music at the Conservatoire, the Cirque, and the
Chatelet began to be heard with the most hearty enthusiasm.
VI.
Théophile Gautier says that no one will deny to Berlioz a great
character, though, the world being given to controversies, it may be
argued whether or not he was a great genius. The world of to-day has
but one opinion on both these questions. The force of Berlioz's
character was phenomenal. His vitality was so passionate and active
that brain and nerve quivered with it, and made him reach out towards
experience at every facet of his nature. Quietude was torture, rest a
sin, for this daring temperament. His eager and subtile intelligence
pierced every sham, and his imagination knew no bounds to its sweep,
oftentimes even disdaining the bounds of art in its audacity and
impatience. This big, virile nature, thwarted and embittered by
opposition, became hardened into violent self-assertion; this
naturally resolute will settled back into fierce obstinacy; this fine
nature, sensitive and sincere, got torn and ragged with passion under
the stress of his unfortunate life. But, at one breath of true
sympathy how quickly the nobility of the man asserted itself! All his
cynicism and hatred melted away, and left only sweetness, truth, and
genial kindness.
Public-domain text, read in full here on John Shaqi.
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