ance
of form.

Yet, when he chose, Berlioz could write the most exquisite and dainty
lyrics possible. What could be more exquisitely tender than many of
his songs and romances, and various of the airs and choral pieces
from "Beatrice et Benedict," from "Nuits d'Ete," "Irlande," and from
"L'Enfance du Christ"?

Berlioz in his entirety, as man and composer, was a most extraordinary
being, to whom the ordinary scale of measure can hardly be applied.
Though he founded no new school, he pushed to a fuller development the
possibilities to which Beethoven reached out in the Ninth Symphony.
He was the great _virtuoso_ on the orchestra, and on this Briarean
instrument he played with the most amazing skill. Others have surpassed
him in the richness of the musical substance out of which their
tone-pictures are woven, in symmetry of form, in finish of detail; but
no one has ever equaled him in that absolute mastery over instruments,
by which a hundred become as plastic and flexible as one, and are made
to embody every phase of the composer's thought with that warmth of
color and precision of form long believed to be necessarily confined to
the sister arts.

THE END.

End of the Project Gutenberg EBook of Great Italian and French Composers, by
George T. Ferris

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