“At last, after much indecision, I hit upon the idea of a symphony, with choruses, vocal solos, and choral recitatives, on the sublime and ever novel theme of Shakspeare’s ‘Romeo and Juliet.’ I wrote in prose all the text intended for the vocal pieces which came between the instrumental selections. Émile Deschamps, with his usual delightful good-nature and marvellous facility, set it to verse for me, and I began....
“During all that time how ardently did I live! How vigorously I struck out on that grand sea of poetry caressed by the playful breeze of fancy, beneath the hot rays of that sun of love which Shakspeare kindled, always confident of my power to reach the marvellous island where stands the temple of true art! Whether I succeeded or not it is not for me to decide.”
The work opens with a fiery introduction representing the combats and tumults of the two rival houses of Capulet and Montague, and the intervention of the Prince. It is followed by a choral recitative for four altos, tenors, and basses (“Long smouldering Hatreds”), with which is interwoven a contralto solo (“Romeo too is there”), the number closing with a passionate chorus (“The Revels now are o’er”). A beautiful effect is made at this point by assigning to the alto voice two couplets (“Joys of first Love”) which are serious in style but very rich in melody. A brief bit of choral recitative and a few measures for tenor—Mercutio’s raillery—lead up to a dainty scherzetto for tenor solo and small chorus (“Mab! bright Elf of Dreamland”), and a short choral passage brings this scene to a close.
The second scene, which is for orchestra only, an impressive declamatory phrase developing into a tender melody, representing the sadness of Romeo, set in tones against the brilliant dance music in the distance accompanying the revel of the Capulets, is one of the most striking effects Berlioz has accomplished, and illustrates his astonishing command of instrumentation. The third scene represents Capulet’s garden in the stillness of night, the young Capulets passing through it, bidding each other adieu and repeating snatches of the dance music. As their strains die away in the distance the balcony scene between Romeo and Juliet is given by the orchestra alone in a genuine love-poem full of passion and sensuousness. No words could rival the impassioned beauty of this melodious number. The fourth scene is also given to the orchestra, and is a setting of Mercutio’s description of Queen Mab. It is a scherzo intensely swift in its movement and almost ethereal in its dainty, graceful rhythm. The instrumentation is full of subtle effects, particularly in the romantic passages for the horns.
In the fifth scene we pass from the tripping music of the fairies to the notes of woe. It describes the funeral procession of Juliet, beginning with a solemn march in fugue style, at first instrumental, with occasional entrances of the voices in monotone, and then vocal (“O mourn, O mourn, strew choicest Flowers”), the monotone being assigned to the instruments. It preludes a powerful orchestral scene representing Romeo’s invocation, Juliet’s awakening, and the despair and death of the lovers.[15] The finale is mainly for double chorus, representing the quarrel between the Montagues and Capulets in the cemetery, which is written with great dramatic power and conceived on the large scale of an operatic ensemble both in the voice parts and instrumentation, and the final reconciliation through the intercession of Friar Laurence, whose declamatory solos are very striking, particularly the air, “Poor Children mine, let me mourn you.” The work is one of almost colossal difficulty, and requires great artists, singers and players, to give expression to its daring realism. Among all of Berlioz’s programme-music, this tone-picture of the principal episodes in Shakspeare’s tragedy stands out clear and sharp by virtue of its astonishing dramatic power.
[14] My dear Friend,—Beethoven is dead, and Berlioz alone can revive him. I have heard your divine composition, so worthy of your genius, and beg you to accept, in token of my homage, twenty thousand francs, which will be handed to you by the Baron de Rothschild on presentation of the enclosed.—Your most affectionate friend,
Nicolo Paganini.
Paris, Dec. 18, 1838.
[15] Composer’s Note. The public has no imagination; therefore pieces which are addressed solely to the imagination have no public. The following instrumental scene is in this case, and I think it should be omitted whenever this symphony is given before an audience not having a feeling for poetry, and not familiar with the fifth act of Shakspeare’s tragedy. This implies its omission ninety-nine times out of a hundred. It presents, moreover, immense difficulties of execution. Consequently, after Juliet’s funeral procession a moment of silence should be observed, then the finale should be taken up.