I doubt if Berlioz would have obtained any consideration at
all from lovers of classical music in France if he had not found allies
in that country of classical music, Germany--"the oracle of Delphi,"
"Germania alma parens,"[2] as he called her. Some of the young German
school found inspiration in Berlioz. The dramatic symphony that he
created flourished in its German form under Liszt; the most eminent
German composer of to-day, Richard Strauss, came under his influence;
and Felix Weingartner, who with Charles Malherbe edited Berlioz's
complete works, was bold enough to write, "In spite of Wagner and Liszt,
we should not be where we are if Berlioz had not lived." This unexpected
support, coming from a country of traditions, has thrown the partisans
of Classic tradition into confusion, and rallied Berlioz's friends.
[Footnote 2: _Memoires_, II, 149.]
But here is a new danger. Though it is natural that Germany, more
musical than France, should recognise the grandeur and originality of
Berlioz's music before France, it is doubtful whether the German nature
could ever fully understand a soul so French in its essence. It is,
perhaps, what is exterior in Berlioz, his positive originality, that the
Germans appreciate.
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