Reyer (1823) belongs more properly under the heading of operatic composers, since he devoted himself primarily to that branch of musical art. He is nevertheless mentioned at this point in consequence of the interest attached to his ode-symphony "Le Selam," which, though not an imitation of David's "Le Désert," is intended as a sequel to it. He is ranked as a conspicuous representative of the young French romantic school. Reyer's reputation is generally confined to France, whereas Reber's eminent pupil, Godard (1849), has become widely known as a prolific writer possessing marked individuality. This foreign recognition is due to his works in smaller form, being a genre of composition in which he excels. In France, however, Godard has occupied a conspicuous position on the programs of orchestral concert music. His activity in this direction has been indeed prodigious, and the results should command a more extensive acquaintance by virtue of their charming musical ideas and graceful instrumentation. These orchestral works bring to light the varied range of his imagination, and for this very reason some of the most characteristic titles will bear citation. In addition to a pianoforte concerto and a "Concerto romantique" for violin, Godard has written an orchestral suite: "Scènes poétiques," a "Symphonie-ballet," an "Ouverture dramatique," a "Symphonie gothique," a "Symphonie orientale," a "Symphonie légendaire," the lyric scena: "Diane et Actéon," and the dramatic poem for soli, chorus and orchestra: "Le Tasse." The last named is considered to be his best work. His chamber music also merits just commendation. It is evident, therefore, that Godard's already extensive foreign reputation is overshadowed only by the broader recognition awarded him in France.
An examination of the works of Vincent d'Indy (1852) reintroduces the subject of contemporary musical art in one of its extreme phases. In earnest endeavor and in faithful adherence to high ideals d'Indy has proved himself a worthy successor to his teacher, César Franck, whom he copies in exceedingly complicated development of subject-matter. Not content with incorporating in his works the most advanced tenets of Wagner, he further has explored the pathway opened up by Brahms. Wagnerian tendencies have crept into all modern French music, whereas Brahms has as yet found few imitators among the composers of the Romance nations. Like each and every French writer, d'Indy has tried his hand in operatic lines; his chamber music, too, is surprisingly clever and effective. Nevertheless, he is essentially a symphonist; "Wallenstein" is evolved on broad and dignified lines, and displays a masterful deployment of orchestral resources. "Le Chant de la Cloche," dramatic legend adapted from Schiller, is perhaps the most remarkable of d'Indy's works; it shows marked resemblance to Wagner's later style by reason of its elaboration of detail and intricacy of orchestration.
Before turning from this series of composers, it is again desired to emphasize the peculiar fact that all French writers both past and present have been consistent in first experimenting in the dramatic field before settling down to the exacting requirements of equally arduous and perhaps intellectually higher orchestral and chamber music. That the authorship of a more or less important opera has been conceded to every one of the above-mentioned composers need therefore excite no further comment.
III.
A little coterie of Frenchmen have distinguished themselves by almost exclusive devotion to the lightest of operatic forms. Just as Lortzing and his contemporaries rendered incalculable service to German musical art by clothing their vivacious productions in dainty orchestral raiment, so has France been the gainer through the efforts of Adam, Maillart and Delibes.
Adolphe Adam (1803) was a most productive writer. The distinctive features of his talent are opulence of melody and rhythmic grace. The best known of his works is, of course, the "Postillon de Longjumeau." Maillart (1817), pupil of Halévy, winner of the Prix de Rome, and author of six operas, was, strange to say, most successful in composing a work that appeals especially to the German mind. "Das Glöckchen des Eremiten" still retains its place in the standard repertories of Germany. Delibes (1836), composer of the sprightly comic operas: "Le Roi l'a dit" and "Lakmé," and of the charming ballets: "Sylvia" and "Coppélia," enriched the world with a far higher type of composition than either Adam or Maillart. His music, by virtue of its grace and refinement, is of such intrinsic value as to entitle Delibes to be ranked among the foremost composers of the nineteenth century. Application to lighter forms only by no means excludes sterling musicianship. Delibes' music is typically French, and by its very naïveté, descriptive powers and clever instrumentation overcomes the impediment of a frequently faulty libretto.
IV.
It is proposed to classify under one distinctive and decidedly exclusive heading the names of six truly eminent composers, who, as worthy contemporaries and successors of Berlioz, may, with him, be regarded as the foremost French representatives of the nineteenth century. These are Thomas, Gounod, Saint-Saëns, Bizet, Chabrier, and Massenet. All these men have become famous as dramatic writers, but the scope of their genius is such as to entitle them to almost equally high rank as composers of orchestral and chamber music. It is further proposed to single out Saint-Saëns as being undoubtedly the greatest French orchestrator since Berlioz, although the present writer is inclined to believe that Chabrier would have equalled him, had not his career been abruptly ended.[81] At all events, Saint-Saëns and Richard Strauss are at present the undisputed living masters of orchestration.[82]
In order to discover to what extent Saint-Saëns has been aided by his immediate compatriots, one must turn to the sound methods and sterling achievements of Ambrose Thomas (1811-1896). A worthy exponent of lyric opera, Thomas possessed like Gounod a high degree of musical intelligence. His music contains the essence of polish and refinement, but its very elegance is at times detrimental to emphatic utterance, to dramatic strength, to intensity of passion. Certain Italian formulae are in evidence. German influence is also apparent. Neither of these characteristics, however, predominates over Thomas' personal individuality and French methods of artistic development. "Mignon" is veiled in a filmy haze of poesy, owing to the delicacy of its orchestration. "Hamlet," which is in reality a grand lyric tragedy, represents an extreme phase of French grand opera. Wagnerian principles are here frankly espoused, whereas the solidity and vigor of the orchestration display an advance upon the scoring of "Mignon" and "Françoise de Rimini." Thomas never overloaded his scores. The orchestration is clear in ensemble, ingenious in detail, always interesting, appropriate, varied. Characteristic tone-color and poetically conceived combinations reveal the skilful hand of a competent master.