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,
one understands why it encountered, and still encounters, so much secret
hostility. How many accomplished musicians of distinction and learning,
who pay honour to artistic tradition, are incapable of understanding
Berlioz because they cannot bear the air of liberty breathed by his
music. They are so used to thinking in German, that Berlioz's speech
upsets and shocks them. I can well believe it. It is the first time a
French musician has dared to think in French; and that is the reason why
I warned you of the danger of accepting too meekly German ideas about
Berlioz. Men like Weingartner, Richard Strauss, and Mottl--thoroughbred
musicians--are, without doubt, able to appreciate Berlioz's genius
better and more quickly than we French musicians. But I rather mistrust
the kind of appreciation they feel for a spirit so opposed to their own.
It is for France and French people to learn to read his thoughts; they
are intimately theirs, and one day will give them their salvation.

* * * * *

Berlioz's other great originality lay in his talent for music that was
suited to the spirit of the common people, recently raised to
sovereignty, and the young democracy. In spite of his aristocratic