[229] The only citations possible in the Supplement are the Overture and portions of a few of the others.
[230] Particularly to be recommended are the following: the essay in Musical Studies by Newman; that by R. Rolland in Musiciens d'aujourd'hui (in French and in English); Berlioz et la société de son temps by J. Tiersot; the essay in Studies in Modern Music by Hadow; Berlioz's own [Mémoires] (in French and in English) and his entertaining essays, A Travers Chants, Grotesques de la Musique and Soirées d'Orchestre; the excellent résumé of Berlioz's writings in the Amateur Series by W.F. Apthorp; the Symphony since Beethoven by Weingartner; and, above all, the monumental work by Boschot in three parts—La Jeunesse d'un Romantique, Un Romantique sous Louis Philippe, Le Crépuscule d'un Romantique. There is an amusing but far from convincing assault against Berlioz as a programme composer and, to a certain extent, against Romanticism in general, in the New Laocoön by Professor Irving Babbitt.
[231] On the title page of the autograph copy of the full score is inscribed the following quotation from King Lear: "As flies to wanton boys are we to the Gods; they kill us for their sport."
[232] Dannreuther, in his essay in the Sixth Volume of the Oxford History of Music, speaks of the peculiar process of "rabbeting" which serves Berlioz in the place of counterpoint, and the criticism, though caustic, holds much truth.
[233] This movement is also of interest as an early example of the Waltz among the conventional symphonic moods. The example has been followed by Tchaikowsky in the third movement of his Fifth Symphony.
[234] For further comments on this Symphony see Mr. Mason's essay in the Romantic Composers, an essay which, while thoughtful, strikes the writer as somewhat biased.
[235] For an entertaining account of the subject matter of the opera see Chapter VII of Boschot's Un Romantique sous Louis Philippe.
[236] For an extended analysis of the work and also for an account of the alleged connection of the virtuoso Paganini with its composition, see the essay in Niecks' Programme Music. There are, in addition, interesting comments in Stories of Symphonic Music by Lawrence Gilman.
[237] An early example of the modern principle of transformation and transference by theme.
[238] A striking illustration of "association of ideas" may be gained from a comparison of the end of this movement with the closing measures of Strauss's Thus Spake Zarathustra; it seems incredible that Strauss did not have Berlioz's effect in his mind.