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With equal felicity does he create the picture of the delicate, graceful Sylphs. Any boisterous rhythmic activity would be quite out of place; and so, above a sustained ground tone on muted 'cellos and basses (which continues through the piece), and the slightest suspicion of motion on the second violins and violas, there floats in the first violins one of the most perfectly rounded and exquisite melodies in existence, e.g.
In the closing measures there is a charming shadowy dialogue between kettle-drums (struck with sponge-headed sticks) and harps, in harmonics, carrying out Berlioz's stage directions—"Les esprits de l'air se balancent quelque temps autour de Faust endormi et disparaissent peu à peu." The piece ends with a chord barely whispered on the clarinets, pppp, which, as Hadow aptly suggests, reminds us of vanishing soap bubbles.
Berlioz's most sustained and perfect work, both in content and treatment, is universally acknowledged to be the Harold en Italie Symphony[236] in four movements for full orchestra and solo viola. There is little actual correspondence between the scenes of Byron's poem and the musical portrayal; and in fact, as Liszt says, "The title clearly shows that the composer wished to render the impression which the magnificent nature of Italy could not fail to make on a soul such as that of Harold languishing in sorrow." The significant features of the work are the melody for solo viola, recurring[237] in each movement, which typifies Harold—that "melancholy dreamer," e.g.,
and the dazzling sensationalism of the Finale (Orgy of Brigands) which, when it was once played "con amore" by a fine orchestra, called forth from Berlioz the following eulogy,—"Sublime! I thank you, gentlemen, and I wonder at you; you are perfect brigands." The finale is also notable in that the opening portion is a reminiscence, a passing in review, of the chief themes of the preceding movements. Berlioz, we may surmise, was following the precedent established by Beethoven in the finale of the Ninth Symphony, and, although his treatment is rather mechanical and lacking in any such dramatic logic as justified Beethoven, a certain organic connection between the movements is undoubtedly secured. A portion of the second movement, March of Pilgrims singing the evening prayer, is cited in the Supplement (See No. 58) chiefly because it is one of Berlioz's noblest inspirations, giving an eloquent picture of a procession approaching, passing by and losing itself in the distance—a long crescendo and diminuendo. At every eighth measure the March melody is interrupted by the muffled chant of the pilgrims, very effectively scored for brass instruments, pianissimo. In the middle of the piece a contrast is gained by the introduction of a religious chant. The closing measures of this movement are of haunting beauty—a mysterious effect being produced by an intentional mixture of tonalities (the sustained B in the flute and oboe being answered by a C on the horns and harp, while beneath are heard fragments of the March theme in the main key on the pizzicato double basses).[238] Berlioz's most pretentious orchestral composition is that called in the full title "Romeo and Juliet, dramatic symphony, with choruses, vocal solos, and a prologue in choral recitative, composed after Shakespeare's tragedy." Notwithstanding many touches of genius, it is a very uneven work and is too much a conglomerate of styles—narrative, lyrical, dramatic, theatric and symphonic—for the constructive ability of the author to weld into a living whole. There are several portions which, however noble and glorious may have been Berlioz's conception,[239] and however inspired by Shakespeare's genius, do not "come off." Two of the numbers, on the other hand, are worthy of the highest praise—the Love Scene and the Queen Mab Scherzo. Of the latter Saint-Saëns writes—"The famous Scherzo is worth even more than its reputation. It is a miracle of lightness and gracefulness. Beside such delicacies and transparencies the finesses of Mendelssohn in the Midsummer Night's Dream seem heavy." The main theme is fascinating in its daintiness and sparkle, e.g.