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.