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."