Part 12

Born in 1839, this artist is the author of several operas denoting aptitudes of no mean order, although devoid of any distinctive originality. Passing by such early works as "Sardanapale" (1867), and "Le dernier jour de Pompei" (1869), we come to "Dimitri," which contains several good numbers, "La Reine Berthe" (1878), and "Le Chevalier Jean" (1885). This last work has been played in Germany with success under the title of "Johann von Löthringen." "Dimitri" and "Le Chevalier Jean" may be looked upon as the composer's best operas.

The influence of Wagner's earlier style is very apparent in these works. Mons. Joncières is also the author of an interesting "Symphonie Romantique." As a critic he has done much to aid the cause of Wagner in France, although not going to the length of some of the master's thick and thin admirers.

A musician of a different type is Théodore Dubois, born in 1837. This composer, like his friend Camille Saint-Saëns, whom he succeeded as organist at the Madeleine, has written a great deal and attempted a variety of _genres_. Amongst his works it will be sufficient to mention the opera "Aben Hamet," the ballet "La Farandole," the concert overture "Frithjoff," "Paradise Lost," an oratorio which gained the prize offered by the city of Paris in 1878, and his setting of the "Seven Words of the Cross" (1867).

Besides these, Théodore Dubois, who won the "Prix de Rome" in 1861, is the author of a number of orchestral works, piano music, and religious compositions which denote talent of an uncommon order and exhibit qualities that entitle him to occupy an important place amongst contemporary musicians.

Another composer whose name is better known in England, and who has also achieved distinction as an organist, is Charles Marie Widor, born in 1845, several of whose compositions have been heard at the Philharmonic and Crystal Palace Concerts. This composer has given proof of a considerable amount of versatility in his different contributions to orchestral and chamber music, also in his charming ballet "La Korrigane." His opera "Maître Ambros" did not meet with success. He has also written a quantity of excellent piano music and many songs. There is imagination and skill displayed in Widor's compositions, and much may yet be expected from him.

If the name of Widor is known in England, the same may be said of Benjamin Godard, born in 1849, in whom we have one of the most prolific of the younger generation of French composers. Godard exhibits a decided individuality of his own. He is endowed with an extraordinary facility of production, and is, in fact, apt to err on the side of over-productivity, and to spread his talents over too large an area. His dramatic poem "Le Tasse," which won the prize offered by the city of Paris in 1879, is a work of considerable importance, revealing an undoubted personality.

With his operas "Pedro de Zalamea," "Jocelyn," "Dante," Godard has been less successful. It is in works such as the "Concerto Romantique" for violin, the "Symphonie Légendaire," the piano trio, amongst others, that his talent finds its true expression. The composer of these works is in the full force of his powers, and it is not too much to state the belief that he has yet much to say. Godard is perhaps greater in small things than he is in large. There is an exquisite charm in some of his songs such as "Ninon," and "Te souviens tu," whilst many of his piano pieces have a savour all their own.

Emile Paladhile, born in 1844, is the composer of the famous "Mandolinata," which has been warbled by every vocalist all the world over. This single melody has probably done more to render his name popular than all his other works put together. His opera "Patrie" has met with success in Paris. Amongst his other dramatic works may be mentioned "Le Passant," "L'Amour Africain," and "Suzanne."

Some composers are doomed to wait a long while before an opportunity is offered them of obtaining a hearing. Such has not been the case with Gervais Bernard Salvayre, born in 1847, who has had several operas performed, without, however, so far scoring any great success.

His first opera, "Le Bravo" played in 1877, was favourably received, but none of his later works, "Egmont," "Richard III.," or "La Dame de Monsoreaux," have succeeded in maintaining themselves in the _répertoire_. The second of these, unless I am mistaken, was first produced in St. Petersburg, and the last at the Paris Opéra, where it was a complete _fiasco_. This composer is also the author of a ballet entitled "La Fandango," a "Stabat Mater," and several other works, including a graceful "Air varié" for stringed instruments.

As the dimensions of this volume are restricted, I am unable to do more than draw attention to some composers whose works would merit more than a cursory mention. Amongst these I may name the erudite Bourgault-Ducoudray, Lenepveu, whose opera "Velléda" was brought out in London some years ago with Mme. Patti in the principal part, Henri Maréchal, the brothers Hillemacher, joint composers of a remarkable opera founded on Dumas' "Henri III.," Wormser, author of "L'Enfant Prodigue," Diaz, Pierné, Pessard, Pfeiffer, Mdlle. Chaminade, Lefebvre, Véronge de la Nux, Cahen, and Messager. This last composer's name is well known in London, where his delightful opera "La Basoche" was successfully performed at the English Opera House, now given up to that form of art, the variety entertainment, so dear to the British public.

The music he has lately composed to Loti's "Madame Chrysanthème" will surely add much to his reputation. It is full of refinement and charm.

We now come to an interesting group of composers who are understood to represent musical ideas of a more "advanced" kind. Some of these are pupils of the late César Franck, and have been humorously designated as forming part of "La République Franckaise."

It may here be said that the almost absolute ignorance existing in England as regards the compositions of so eminent a musician as César Franck does not redound to our credit. Surely it would be worth the while of our choral societies to produce a work so remarkable in every way as "Les Béatitudes," and a place might occasionally be found in our concert programmes for some example of his chamber music. His fine violin sonata was recently played at the St. James's Hall by Mme. Frickenhaus and Mons. Ortmans, and great credit is thereby due to both these artists, who have shown an example that might with advantage be followed.

There exists a certain "Prélude, Choral et Fugue," for the piano, published by Messrs. Enoch, that I can confidently recommend to the notice of musicians, who will find therein the expression of a strong, deep, and noble talent.

Vincent d'Indy, one of César Franck's best pupils, is equally little known in England, except by name. Born in 1852, this composer has produced a number of works, the value of which has caused him to be regarded as one of the most earnest and promising amongst the younger French musicians, as well as one of those who consider their art as sacred, and do not seek the suffrages of the masses, but are content with gaining the approval of a select few.

The entire modern French school is strongly tinged with Wagnerism, but the essentially Teutonic nature of Brahms would seem to render his style absolutely uncongenial to a French mind. According to Mons. Hugues Imbert, the impression caused upon Vincent d'Indy by the perusal of Brahms' "Requiem," in 1873, was such that he forthwith started for Germany in order to become acquainted with the master. He first sought him in Vienna, then at Munich, and finally came across him at the Starnberger See, in Bavaria. The result of the long-desired interview does not seem to have been so satisfactory as it might have been, the German composer receiving the young enthusiast with a certain amount of reserve.

The first work by Vincent d'Indy which was given in Paris was the overture to the "Piccolomini," which forms the second part of Schiller's trilogy of "Wallenstein." This took place in 1875. It was not until five years later that he terminated his symphony bearing the title of "Wallenstein," a composition conceived upon a large scale, displaying a marked capacity in the handling of the orchestra, and revealing symphonic aptitudes of a high order.

Perhaps the most remarkable work that Vincent d'Indy has as yet produced is his dramatic legend "Le Chant de la Cloche," op. 18, the words of which are adapted from Schiller's well-known poem. This composition was awarded the prize offered by the city of Paris in 1886. The predominating influence in this work is that of Wagner. Perhaps somewhat unduly complicated in the matter of detail, the score is remarkable as an example of consummate workmanship and as an evidence of the lofty aspirations and elevated ideas held by its author. I must not omit to mention the Symphony in G for piano and orchestra, op. 25, which has the merit of decided originality in the matter of structure. It is divided into three parts, and is mainly constructed upon a French popular melody, which is subjected to a variety of transformations. So far, his only contribution to the stage consists in a one-act opera, entitled "Attendez moi sous l'Orme," played some ten or twelve years since at the Opéra Comique.

Vincent d'Indy is essentially a symphonist, and the same may be said of Gabriel Fauré, whose talent and originality English audiences have occasionally had an opportunity of appreciating. The _habitués_ of the Monday Popular Concerts will not have forgotten a certain quartet played at these exclusive gatherings a year or two ago, and amateurs may recollect the brilliant violin sonata which Saint-Saëns introduced on the occasion of one of his last visits amongst us. Every violinist plays, or ought to play, his delicious "Berceuse."

Fauré, who was born in 1845, has written works of high musical value, such as the quartet above mentioned, the violin concerto, op. 14, and the symphony in D minor, op. 40. Many admirable songs and a large number of pianoforte works are also due to his pen.

Mons. Hugues Imbert commences his interesting notice of the composer, included in his "Profils de Musiciens," with the following words: "If there be a French musician who by temperament and taste has left the French school in order to approach the German symphonic school; if there be a composer who has the profoundest respect for his art, who loves it with his whole soul; if there be a man who despises self-advertisement, and is averse to all concessions in favour of the doubtful taste of the public, it is Gabriel Fauré."

Whilst agreeing with the measure of praise allotted to the composer in the above lines, and recognising the influence of German music discernible in his works, I am of opinion that his nationality is perhaps more marked than his biographer would seem to imagine.

The nature of Fauré's talent has been appreciated by Mons. Camille Benoit in these terms: "Fauré's talent has especially manifested itself in 'La Musique Intime,' that which one hears in an artist's salon or at a concert of chamber music, that which wants neither scenery nor orchestra. From all points of view, if I had to liken him to a contemporary foreign composer, it is to the Norwegian, Eduard Grieg, that I should compare him. That is to say, that in France, G. Fauré is the first in the special line he has chosen, and towards which his nature has impelled him."

I now come to a composer who has only comparatively recently made a name. Emmanuel Chabrier was born in 1842, and commenced his musical career somewhat late in life. Always a musical enthusiast, and having found time to cultivate his favourite art as a pastime, he threw up an administrative appointment in 1879, and resolved to devote himself entirely to composition. Two years previously he had written an "opéra bouffe," entitled "L'Etoile," which was played at the Bouffes Parisiens. It was not, however, in this style that he was destined to shine. Very different is "Gwendoline," an opera performed for the first time in 1886 at Brussels with great success, and which has since been given in Germany, notably at Carlsruhe and Munich, and is, I believe, shortly to be mounted in Paris. Highly imaginative and poetical, this work must undoubtedly rank amongst the best operas that have emanated from the brain of a French composer for many years. The intense admiration that Chabrier entertains towards Wagner has not obscured the individuality of his own musical ideas. Ernest Reyer wrote an extremely eulogistic article on this work, from which I will cite an extract:--"Je me trouve en présence d'une oeuvre extrêmement intéressante, renfermant des pages superbes et qui dans ses parties les moins saillantes, porte quand même la griffe puissante d'un compositeur admirablement doué."

For some reason, which I do not pretend to fathom, Chabrier has introduced a popular Irish melody into his score!

In "Le Roi Malgré Lui," played at the Opéra Comique in 1887, Chabrier has attempted a different style. This pleasing work is especially striking through the ingenuity of the orchestral treatment, which often redeems the occasional _banalité_ of its themes. It is altogether a delightful example of a modernised form of "opéra comique," and had reached its third representation when the luckless "Opéra Comique" Theatre was burnt to the ground. The orchestral rhapsody "España," constructed upon Spanish melodies, brimful of _entrain_ and scored with a wonderful lightness of touch, has largely contributed to popularise the name of Chabrier in the concert room. There is both fancy and originality in the "Pièces Pittoresques" for piano, published by Messrs. Enoch in the Litolff edition. Chabrier is said to be at work upon an opera entitled "Briseis."

I must not pass over in silence composers such as Arthur Coquard, Mdlle. Augusta Holmès, a lady of extraordinary talent, some say genius, Vidal, Chapuis, Hue, Camille Benoit, Marty, Henri Duparc, and Gustave Charpentier, one of the youngest and not the least gifted.

With these few lines concerning some of the most remarkable amongst living French composers, I must take leave of my readers. That France will yet produce works destined to keep up and further enhance her prestige there can be no doubt. The essentially dramatic temperament of her composers will continue to assert itself, and it is highly unlikely that they will allow themselves to fall into the exaggerations of any particular system.

If during the first half of the century the influence of Rossini has been predominant, that of Wagner has been at least equally so during the latter portion. In either case, French composers have taken as much from each master as would amalgamate with their individuality without abrogating that national element which is so recognisable in their productions.

Truth of expression and dramatic characterisation are now universally sought for by operatic composers. Whether these are attained through the employment of one method or another matters but little. A composer is no more bound to construct an opera upon a number of representative themes than he is to reject all set forms. If his inspiration prompts him to compose in one particular style, by all means let him do so, provided he be sincere, and that his music bears the stamp of conviction. Musicians are apt to be too exclusive in their tastes. It should be possible to entertain preferences without necessarily condemning everything that does not come within the radius of one's ideas. The French school has, during this century, left its mark in an undeniable manner upon operatic history, and the versatility of its composers has over and over again been proved.

Casting a cursory glance backwards, do we not find, side by side with a work of such severely classic proportions, noble aspirations, yet simple construction as Méhul's "Joseph," bright specimens of the "opéra comique," like Boïeldieu's "Dame Blanche," Hérold's "Pré aux Clercs," Auber's "Fra Diavolo," and "Domino Noir"? The Grand Opéra stage is enriched by works so full of natural spontaneity as Auber's "Muette de Portici," and of dramatic power as Halévy's "La Juive." Later on, Berlioz revolutionises orchestral methods whilst raising the ideal previously aimed at, Gounod adds an elegiac note and an intensity of poetical feeling to the characteristics of his nation, and Bizet gives evidence of a genius unhappily too soon cut short, and prepares the way for the realistic operatic style now so much in vogue. "Faust," "Mignon," "Carmen," "Manon," "Samson et Dalila," and other operas acquire a European fame, whilst the younger French composers are impatiently waiting for the opportunity to vie with their elders.

In closing this little volume I must again express the consciousness I entertain of the inadequacy of my efforts to deal with a subject that would require several volumes to do it justice.

If, however, I have succeeded, in addition to furnishing particulars of the lives of the most popular French composers, in drawing attention to the works of some who are less well-known than they deserve to be, my object will have been attained, and this little book will not have been written in vain.

APPENDIX

LIST OF THE PRINCIPAL WORKS COMPOSED BY AMBROISE THOMAS, GOUNOD, SAINT-SAËNS, MASSENET, REYER, AND BRUNEAU

AMBROISE THOMAS

_DRAMATIC WORKS_

1. "Le Double Échelle," opéra comique, 1 act. 1837. 2. "Le Perruquier de la Régence," op. com., 3 acts. 1838. 3. "La Gipsy," ballet, 2 acts. 1839. (In collaboration with Benoist.) 4. "Le Panier fleuri," op. com., 1 act. 1839. 5. "Carline," op., 3 acts. 1840. 6. "Le Comte de Carmagnole," op., 2 acts. 1841. 7. "Le Guerillero," op., 2 acts. 1842. 8. "Angélique et Médor," op. com., 1 act. 1843. 9. "Mina," op. com., 3 acts. 1843. 10. "Betty," ballet, 2 acts. 1846. 11. "Le Caïd," op. com., 3 acts. 1849. 12. "Le Songe d'une Nuit d'Été," op. com., 3 acts. 1850. 13. "Raymond," op., 3 acts. 1851. 14. "La Tonelli," op., 2 acts. 1853. 15. "La Cour de Célimène," op. com., 2 acts. 1855. 16. "Psyché," op., 3 acts. 1857. 17. "Le Carnaval de Venise," op. com., 3 acts. 1857. 18. "Le Roman d'Elvire," op. com., 3 acts. 1860. 19. "Mignon," op., 3 acts. 1866. 20. "Hamlet," op., 5 acts. 1868. 21. "Gille et Gillotin," op. com., 1 act. 1874. 22. "Françoise de Rimini," op., 5 acts. 1882. 23. "La Tempête," ballet. 1889.

_SACRED WORKS_

Requiem. Messe Solennelle. Marche Religieuse. 3 Motets.

_MISCELLANEOUS WORKS_

"Hommage a Boïeldieu," cantata. "Souvenirs d'Italie," 6 romances, pour chant et piano. Quintet for strings. Quartet for strings, op. 1. Trio for piano, violin, or violoncello. "Fantaisie," for piano or orchestra. "Fantaisie sur un air écossais," for piano. "Six caprices pour piano." "Deux nocturnes." "Rondeaux pour piano à quatre mains." Choruses for male voices. &c. &c.

CHARLES GOUNOD

_DRAMATIC WORKS_

1. "Sapho," op., 3 acts. 1851. 2. "La Nonne sanglante," op., 5 acts. 1854. 3. "Le Médecin Malgré Lui," op. com., 3 acts. 1858. 4. "Faust," op., 5 acts. 1859. 5. "Philémon et Baucis," op. com., 2 acts. 1860. (Later enlarged to 3 acts.) 6. "La Colombe," op. com., 2 acts. 1860. 7. "La Reine de Saba," op., 5 acts. 1862. 8. "Mireille," op., 5 acts. 1864. 9. "Roméo et Juliette," op., 5 acts. 1867. 10. "Cinq Mars," op., 4 acts. 1877. 11. "Polyeucte," op., 5 acts. 1878. 12. "Le Tribut de Zamora," op., 4 acts. 1881. "Georges Dandin," op. com. (unperformed).

_SACRED WORKS_

Several Masses, of which the best known is the "Messe de Ste. Cécile," 1855. Amongst the others may be mentioned the "Messe aux Orphéonistes," 1852; "Messe du Sacré Coeur," 1876; "Messe de "Pâques,"1885, and "Messe à la Mémoire de Jeanne d'Arc," 1887.

"Tobie," oratorio. 1854.

"The Redemption." 1882.

"Mors et vita." 1885.

"Hymne à St. Augustin." 1885.

"De Profundis."

"Te Deum."

Also a quantity of motets, choruses, and other religious compositions.

_VOCAL WORKS_

"1er. Recueil de 20 Mélodies." (Includes the "Ave Maria" on the first prelude of Bach; "Venise," "Sérénade," "Le Vallon," "Chanson du Printemps," "Jésus de Nazareth," "Le Soir," etc.).

"2ème. Recueil de 20 Mélodies." (Includes "Marguerite," "Medjé," "Envoi de Fleurs," "Au Printemps," "Ce que je suis sans toi," etc.).

"3ème. Recueil de 20 Mélodies." (Includes "La Pâquerette," "Où voulez-vous aller?" "Le Ciel a visité la Terre," several extracts from operas, etc.).

"4ème. Recueil de 20 Mélodies." (Includes "Le Banc de Pierre," "Le Nom de Marie," several extracts from operas, etc.).

A volume of 15 duets.

The above are published by Messrs. Choudens.

During his sojourn in England Gounod composed a large number of songs, the best known of which are: "Maid of Athens," "The Fountain mingles with the River," "Oh, that we two were Maying!" "The Worker," "There is a green Hill far away," and "Biondina," a collection of 20 songs to Italian words.

_MISCELLANEOUS WORKS_

Music to the tragedy "Ulysse." 1852. Music to "Les deux Reines." 1872. Music to "Jeanne d'Arc." 1873. Symphony No. 1, in D. 1854. Symphony No. 2, in E flat. 1855. Funeral March of a Marionette. Saltarello. Pianoforte music, Marches, etc.

CAMILLE SAINT-SAËNS

_DRAMATIC WORKS_

1. "La Princesse Jaune," op. com., 1 act. 1872. 2. "Le Timbre d'Argent," op., 3 acts. 1877. 3. "Samson et Dalila," Biblical op., 3 acts. 1877. 4. "Etienne Marcel," op., 4 acts. 1879. 5. "Henri VIII," op., 4 acts. 1881. 6. "Proserpine," op., 3 acts. 1887. 7. "Ascanio," op., 5 acts. 1890. 10. "Phryné," op. com., 2 acts. 1893.

_SACRED WORKS_

Messe Solennelle, op. 4. "Tantum ergo," chorus, op. 5. "Oratorio de Noël," op. 12. Psalm xviii., "Coeli enarrant," op. 42. "Le Déluge," poème biblique, op. 45. "Les Soldats de Gédéon," double chorus, op. 46. Messe de Requiem, op. 54.

_ORCHESTRAL WORKS_

Symphony in E flat, No. 1, op. 2. Symphony in A minor, No. 2, op. 55. Symphony in C minor, No. 3, op. 78. Overture, "Spartacus." "Le Rouet d'Omphale," symphonic poem, op. 31, "Phaëton," symphonic poem, op. 39. "Danse Macabre," symphonic poem, op. 40. "La jeunesse d'Hercule," symphonic poem, op. 50. "Orient et Occident," march for military band, op. 25. "Marche héroïque," op. 34. Suite (Prelude, Sarabande, Gavotte, Romance, Final), op. 49. "Suite Algérienne," op. 60. "Une Nuit à Lisbonne," barcarolle, op. 63. "La Jota Aragonese," op. 64. "Sarabande et Rigaudon," op. 93.

_CONCERTOS AND WORKS FOR A SOLO INSTRUMENT WITH ORCHESTRA._

Concerto for the piano in D, No. 1, op. 17. Concerto for the piano in G minor, No. 2, op. 22. Concerto for the piano in E flat, No. 3, op. 29. Concerto for the piano in C minor, No. 4, op. 44. Rhapsodie d'Auvergne, piano & orchestra, op. 73. "Africa," fantasia, piano & orchestra, op. 89. Introduction et Rondo Capriccioso, violin & orchestra, op. 28. Concerto for violin, No. 1. Concerto for violin in C, No. 2, op. 58. Concerto for violin in B minor, No. 3, op. 61. Romance in D flat for violin or flute, op. 37. Romance in C for violin, op. 48. "Morceau de Concert," for violin, op. 62. "Havanaise," for violin, op. 83. "Tarantelle," for flute & clarionet, op. 6. Concerto for violoncello, op. 33. "Allegro appassionato," for violoncello, op. 43.

_CHAMBER MUSIC_