acques Passy notes that with Berlioz the most frequent
phrases consist of twelve, sixteen, eighteen, or twenty bars. With
Wagner, phrases of eight bars are rare, those of four more common, those
of two still more so, while those of one bar are most frequent of all
(_Berlioz et Wagner_, article published in _Le Correspondant_, 10 June,
1888).]

In spite of appearances, Wagner is a classicist compared with Berlioz;
he carried on and perfected the work of the German classicists; he made
no innovations; he is the pinnacle and the close of one evolution of
art. Berlioz began a new art; and one finds in it all the daring and
gracious ardour of youth. The iron laws that bound the art of Wagner are
not to be found in Berlioz's early works, which give one the illusion of
perfect freedom.[92]

[Footnote 92: One must make mention here of the poorness and awkwardness
of Berlioz's harmony--which is incontestable--since some critics and
composers have been able to see (Am I saying something
ridiculous?--Wagner would say it for me) nothing but "faults of
orthography" in his genius. To these terrible grammarians--who, two
hundred years ago, criticised Moliere on account of his "jargon"--I
shall reply by quoting Schumann.

"Berlioz's harmonies, in spite of the diversity of their effect,
obtained from very scanty material, are distinguished by a sort of
simplicity, and even by a solidity and conciseness, which one only
meets with in Beethoven.... One may find here and there harmonies
that are commonplace and trivial, and others that are incorrect--at
least according to the old rules. In some places his harmonies have
a fine effect, and in others their result is vague and
indeterminate, or it sounds badly, or is too elaborate and
far-fetched. Yet with Berlioz all this somehow takes on a certain
distinction. If one attempted to correct it, or even slightly to
modify it--for a skilled musician it would be child's play--the
music would become dull" (Article on the _Symphonie fantastique_).

But let us leave that "grammatical discussion" as well as what Wagner
wrote on "the childish question as to whether it is permitted or not to
introduce 'neologisms' in matters of harmony and melody" (Wagner to
Berlioz, 22 February, 1860). As Schumann has said, "Look out for fifths,
and then leave us in peace."]

As soon as the profound originality of Berlioz's music has been grasped,
on