Now that Faust has been heard three or four times its merits are more obvious than when it was first given. One can hardly say that the execution is better than it was, for, in truth, Mr Halle had so carefully rehearsed it that full justice was given to the music when he introduced it to his audience.
But we are certainly better able to survey the work as a whole as we gradually become familiar with it. Berlioz's musical forms are his own also. The 'Ballet des Sylphes' has an infinitely greater interest when heard as part of that mystic and unholy scene of enchantment of which it is a portion, than when given as a member in a miscellaneous programme; and even the soul-stirring 'Rakoczy' March - almost dragged into Faust as it is - has a wonderful eclat there.
The sudden transitions are amongst the chief elements of success. The 'Easter Hymn' would probably not impress us as it does but for the contrast which it receives, first in its opposition to the Mephistophelean idea, and later, from the roistering revelry in the Leipsic beer-cellar. When this has passed away, a scene of pastoral life enables us to enjoy perhaps the most thoroughly musician-like portion of the whole. Faust's dream is a creation of exquisite loveliness, sufficient to justify the claims of its composer to rank amongst the great composers.
The discord which announces the presence of Mephistopheles comes on us with almost the force and suddenness of a pistol shot. The curious cross tempi in the fiend serenade and elsewhere are used with a boldness which almost produces a new musical sensation.
With Faust and Margaret before us in flesh and blood we cannot help comparing the poverty of effect with that superb scene where Gounod has told the tale of the maiden's fall. And yet, while we still adhere to our preference to the version of Faust which the latter composer has given us, it is only just to add that we are now able to discover also how much he owed to the earlier setting of Berlioz.
Our readers have opportunities of forming opinions such as have never before, or elsewhere, been afforded. The fame of Berlioz is in the hands of the present generation. The revival now going on presents his claims to consideration with a completeness which admits of no possible extenuation. Whether it will pass away leaving little trace behind or establish the fame of Berlioz beyond doubt or cavil remains to be seen. Possibly another generation may elapse, and another revival give our children sensations still new as now.
