speare
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