[Footnote 56: The _Huit scenes de Faust_ are taken from Goethe's
tragedy, translated by _Gerard de Nerval_, and they include: (1) _Chants
de la fete de Paques_; (2) _Paysans sous les tilleuls_; (3) _Concert des
Sylphes_; (4 and 5) _Taverne d'Auerbach_, with the two songs of the Rat
and the Flea; (6) _Chanson du roi de Thule_; (7) _Romance de
Marguerite_, "D'amour, l'ardente flamme," and _Choeur de soldats_; (8)
_Serenade de Mephistopheles_--that is to say, the most celebrated and
characteristic pages of the _Damnation_ (see M. Prudhomme's essays on
_Le Cycle de Berlioz_).]
[Footnote 57: One could hardly find a better manifestation of the soul
of a youthful musical genius than that in certain letters written at
this time; in particular the letter written to Ferrand on 28 June, 1828,
with its feverish postscript. What a life of rich and overflowing
vigour! It is a joy to read it; one drinks at the source of life
itself.]
He wrote them at the same age, but ten years later; for _Les Fees_
appeared in 1833, when Berlioz had already written the _Fantastique_,
the _Huit scenes de Faust, Lelio_, and _Harold; Rienzi_ was only played
in 1842, after _Benvenuto_ (1835), _Le Requiem_ (1837), _Romeo_ (1839),
_La Symphonie funebre et triomphale_ (1840)--that is to say, when
Berlioz had finished all his great works, and after he had achieved his
musical revolution.
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