works, he gives us another movement representing a procession to the guillotine of a young man condemned for murdering his sweetheart. In close association with this love of the lurid, spectral, and ghastly is the bitterly ironical spirit which conceived an "Amen" chorus in mock ecclesiastical style to be sung over a dead rat, the guying of the composer's own love-theme with a jig-like variation on a specially ugly instrument (the E flat clarinet) introduced into the orchestra for that purpose, and the use of the stern and majestic Plain Song theme of the "Dies Iræ" as a _cantus firmus_, to which the mocking laughter of witches (rushing past through the air in a huge weltering broomstick cavalcade) makes a kind of fantastic counterpoint. It is well to bear in mind that the same talent gave us such miraculous gossamer fancies as the "Queen Mab" Scherzo and the chorus of Sylphs and that most tenderly beautiful and vividly conceived idyll "L'Enfance du Christ." For the "Symphonie Fantastique" the orchestra had to be considerably enlarged. In addition to all the usual instruments the score requires an E flat clarinet, two bells (G and C), a second harp, an extra kettledrum, and a second bass tuba. Everything had been rehearsed with infinite care, and in all five movements the rendering was a display of virtuosity such as only a very rare combination of favourable circumstances would allow one to hear. No other composer displays a very powerful and skilful orchestra to quite such immense advantage. As Mr. Edward Dannreuther has finely and truly remarked--"With Berlioz the equation between a particular phrase and a particular instrument is invariably perfect." His violently wilful character manifests itself in the harmony. His fancies devour one another, like dragons of the prime, instead of progressing and developing in an orderly manner. But the marvellous beauty of the tone-colouring and aptness of the passage-work never fail. The parts of the symphony most thoroughly enjoyed by the audience were, no doubt, the second movement in waltz rhythm (where the most wonderful use is made of the two harps and the wood-wind) and the march in the fourth movement, where the part symbolising the emotions of the mob rather than of the victim is very brilliant and telling, with suggestions of that Hungarian March which the composer afterwards made his own. [Sidenote: ="Faust."= _March 7, 1902._]