And Schumann quotes these words of Ernest Wagner: "He who shakes off the
tyranny of time and delivers us from it will, as far as one can see,
give back freedom to music."[88]

[Footnote 87: "Oh, how I love, honour, and reverence Schumann for having
written this article alone" (Hugo Wolf, 1884).]

[Footnote 88: _Neue Zeitschrift für Musik_. See _Hector Berlioz und
Robert Schumann_. Berlioz was constantly righting for this freedom of
rhythm--for "those harmonies of rhythm," as he said. He wished to form a
Rhythm class at the Conservatoire (_Mémoires_, II, 241), but such a
thing was not understood in France. Without being as backward as Italy
on this point, France is still resisting the emancipation of rhythm
(_Mémoires_, II, 196). But during the last ten years great progress in
music has been made in France.]

Remark also Berlioz's freedom of melody. His musical phrases pulse and
flow like life itself. "Some phrases taken separately," says Schumann,
"have such an intensity that they will not bear harmonising--_as in many
ancient folk-songs_--and often even an accompaniment spoils their
fulness."[89] These melodies so correspond with the emotions, that they
reproduce the least thrills of body and mind by their vigorous
workings-up and delicate reliefs, by splendid barbarities of modulation
and strong and glowing colour, by gentle gradations of light and shade
or imperceptible ripples of thought, which flow over the body like a
steady tide. It is an art of peculiar sensitiveness, more delicately
expressive than that of Wagner; not satisfying itself with the modern
tonality, but going back to old modes--a rebel, as M. Saint-Saëns
remarks, to the polyphony which had governed music since Bach's day, and