. Programme. e my greatestsymphony. He married her, and was thereafter miserable. Hewrote the symphony. To the end of his life he preferred the LoveScene to all the rest of his music. In 1821 he spoke to Deschamps about the scheme of the Sym-phony. We planned out together, says Deschamps, the schemeof the musical and poetical work: melodies and verses came in amass; the symphony appeared—ten years later. In 1829 Berliozwrote to Ferraud, apropos of a portion of his cantata Cleopatra:It is terrible; it is frightful! It is the scene where Juliet medi-tates on her burial alive in the tomb of the C
. Programme. e my greatestsymphony. He married her, and was thereafter miserable. Hewrote the symphony. To the end of his life he preferred the LoveScene to all the rest of his music. In 1821 he spoke to Deschamps about the scheme of the Sym-phony. We planned out together, says Deschamps, the schemeof the musical and poetical work: melodies and verses came in amass; the symphony appeared—ten years later. In 1829 Berliozwrote to Ferraud, apropos of a portion of his cantata Cleopatra:It is terrible; it is frightful! It is the scene where Juliet medi-tates on her burial alive in the tomb of the Capulets, surroundedby the bones of her ancestors, with the corpse of Tybalt near he told Mendelssohn in Rome that he had found the subjectof a scherzo in Mercutios description of Queen Mab. In the courseof an article on music in Italy he wrote with reference to BellinisI Capuletti ed i Montecchi: What a subject! How everythingis planned for music! First the dazzling ball at Capulets; then BEACH7660. REAL VICTOR SERVICE . THE EMPLOYERS^LIABILITY ASSURANCE CORPORATION Limited of London, England SAMUEL APPLETON United States Manager132 WATER ST. BOSTON the furious quarrels and fights in the streets of Verona—^the inex-pressible night-scene of Juliets balcony—the piquant jests of thecareless Mercutio—the pontifical Hermit—the frightful tragedy—at last the solemn moment of reconciliation! Auguste Barbiersays that Berlioz asked him for a libretto, or at least a poetic text,for his symphony. There is no doubt as to Berliozs determinationto write the work inspired by the revelation of Shakespeare throughMiss Smithson, whether he shouted his resolve aloud or let it gnawat his brain. He began to compose ^Borneo and Juliet in 1839, and he tells usthat he worked for seven months without an interruption of morethan three or four days out of thirty. What a fiery life I livedduring that time! With what energy I swam in this great sea ofpoetry, caressed by the wild breeze
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