Masters of French Music Part 11

It may with truth be averred that France has never been so well provided with composers of talent as she is at the present time. Every year the far-famed Conservatoire turns out a number of young men whose musical knowledge is undeniable, and who are all of them filled with buoyant hopes of achieving distinction in the arena of fame. The musical progress that has been effected in France during the last thirty years is immense. This may be largely attributed to the initiative of Pasdeloup[29] the organiser and conductor of the celebrated concerts which were started at the Cirque d'Hiver in 1861, and to the zeal and talent of his successors Messrs. Lamoureux and Colonne. It is through the efforts of the above indefatigable _chefs d'orchestre_ that instrumental music of a high cla.s.s has come to be generally appreciated in Paris. The famous Conservatoire concerts, it must be remembered, were, and are, only accessible to a few privileged individuals.

Pasdeloup began his work by familiarising the Parisians with the symphonic works of Haydn, Mozart and Beethoven. Mendelssohn and Schumann followed, and the valiant _chef d'orchestre_ from time to time introduced the names of Berlioz and Wagner. The appearance of the latter on the programme generally foreshadowed a disturbance. Nowadays, when we witness the spectacle of large crowds listening in wrapt attention to some of the most complicated works of the great master at the concerts of Messrs. Lamoureux and Colonne, it seems difficult to realise the possibility of such turbulent scenes as I remember myself witnessing only a few years since at the Pasdeloup concerts. On one occasion a performance of the Prelude to "Lohengrin" produced a veritable disturbance, one section of the audience desiring to hear it over again in spite of the manifest opposition displayed by the major portion of the spectators. Pasdeloup adopted the sensible course of making an impromptu speech, in which he said that as many people wished to hear the Prelude once more he would repeat it at the end of the concert, when those who objected to it would be at liberty to retire. By thus severing the Gordian knot the clever _chef d'orchestre_ effectually disposed of the difficulty to the manifest disappointment of the anti-Wagnerites present.

The members of the younger generation of French composers have had no cause to complain of any want of hospitality at the hands of either Pasdeloup or Messrs. Lamoureux[30] and Colonne,[31] and many a now well-known musician has won his spurs through their help.

It would almost appear as if a veil which for a long period had obscured the vision of the musical section of the public had at length been removed. The genius of Berlioz and that of Wagner are now uncontested, unless it be by a few retrograde individuals whose opinions are not ent.i.tled to any weight, and the influence of these masters upon the modern French school has been both great and far-reaching. It is highly regrettable that the spirit of free trade is not acted upon to a greater extent in the matter of musical affairs. If this were the case we should be afforded more chances of becoming acquainted with the works of those members of the young, and if I may so term it, militant French school, which are not sufficiently known on this side of the channel.

In like manner, our native composers might be given the opportunity of proving to the Parisians the fallacy of the notion, seemingly entertained abroad, that England is dest.i.tute of creative musical talent. Art has not, or ought not to have, any boundaries. That which is good deserves to be known and to survive; as for the rest, it matters not.

In music, time seems to march with disconcerting rapidity. Composers who but a few years since were considered as hopelessly advanced in their ideas are now in danger of being left behind by their juniors.

One of the most ardent champions of the new school of thought some years ago was Victorin Joncieres, who enjoys a well-established reputation in Paris as composer and critic.

Born in 1839, this artist is the author of several operas denoting apt.i.tudes of no mean order, although devoid of any distinctive originality. Pa.s.sing 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 t.i.tle of "Johann von Lothringen." "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. Joncieres 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 Theodore Dubois, born in 1837. This composer, like his friend Camille Saint-Saens, 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, Theodore 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 ent.i.tle 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 "Maitre Ambros" did not meet with success. He has also written a quant.i.ty 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 G.o.dard, born in 1849, in whom we have one of the most prolific of the younger generation of French composers. G.o.dard 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 Ta.s.se," 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," G.o.dard has been less successful. It is in works such as the "Concerto Romantique" for violin, the "Symphonie Legendaire," 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. G.o.dard 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 Pa.s.sant," "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 _repertoire_. The second of these, unless I am mistaken, was first produced in St. Petersburg, and the last at the Paris Opera, where it was a complete _fiasco_. This composer is also the author of a ballet ent.i.tled "La Fandango," a "Stabat Mater," and several other works, including a graceful "Air varie" 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 "Velleda" was brought out in London some years ago with Mme. Patti in the princ.i.p.al part, Henri Marechal, the brothers Hillemacher, joint composers of a remarkable opera founded on Dumas' "Henri III.," Wormser, author of "L'Enfant Prodigue," Diaz, Pierne, Pessard, Pfeiffer, Mdlle. Chaminade, Lefebvre, Veronge 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 Chrysantheme" 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 Cesar Franck, and have been humorously designated as forming part of "La Republique Franckaise."

It may here be said that the almost absolute ignorance existing in England as regards the compositions of so eminent a musician as Cesar 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 Beat.i.tudes," 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 "Prelude, 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 n.o.ble talent.

Vincent d'Indy, one of Cesar 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 ma.s.ses, 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 t.i.tle of "Wallenstein," a composition conceived upon a large scale, displaying a marked capacity in the handling of the orchestra, and revealing symphonic apt.i.tudes 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, ent.i.tled "Attendez moi sous l'Orme," played some ten or twelve years since at the Opera Comique.

Vincent d'Indy is essentially a symphonist, and the same may be said of Gabriel Faure, whose talent and originality English audiences have occasionally had an opportunity of appreciating. The _habitues_ 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-Saens introduced on the occasion of one of his last visits amongst us. Every violinist plays, or ought to play, his delicious "Berceuse."

Faure, 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-advertis.e.m.e.nt, and is averse to all concessions in favour of the doubtful taste of the public, it is Gabriel Faure."

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 Faure's talent has been appreciated by Mons. Camille Benoit in these terms: "Faure'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. Faure 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 "opera bouffe," ent.i.tled "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 presence d'une uvre extremement interessante, renfermant des pages superbes et qui dans ses parties les moins saillantes, porte quand meme la griffe puissante d'un compositeur admirablement doue."

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

In "Le Roi Malgre Lui," played at the Opera 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 _ba.n.a.lite_ of its themes. It is altogether a delightful example of a modernised form of "opera comique," and had reached its third representation when the luckless "Opera Comique"

Theatre was burnt to the ground. The orchestral rhapsody "Espana,"

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 "Pieces Pittoresques" for piano, published by Messrs.

Enoch in the Litolff edition. Chabrier is said to be at work upon an opera ent.i.tled "Briseis."

I must not pa.s.s over in silence composers such as Arthur Coquard, Mdlle.

Augusta Holmes, 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 a.s.sert 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 cla.s.sic proportions, n.o.ble aspirations, yet simple construction as Mehul's "Joseph," bright specimens of the "opera comique," like Boeldieu's "Dame Blanche," Herold's "Pre aux Clercs,"

Auber's "Fra Diavolo," and "Domino Noir"? The Grand Opera stage is enriched by works so full of natural spontaneity as Auber's "Muette de Portici," and of dramatic power as Halevy'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 PRINc.i.p.aL WORKS COMPOSED BY AMBROISE THOMAS, GOUNOD, SAINT-SAeNS, Ma.s.sENET, REYER, AND BRUNEAU