The Evolution of Modern Orchestration

by Louis Adolphe Coerne

The ascendency of modern French organ playing has been brought about by Guilmant, Widor, and their associates. But this is not their only claim to recognition, for their creative efforts bear directly upon the art of orchestration. Guilmant (1837) has displaced the classical organ concerto with string accompaniment by creating a more pliable form under the heading of "symphony for organ and orchestra." Widor (1845) has likewise shown a progressive spirit in his various organ, chamber, and orchestral works, which are notable for their artistic skill and for their display of poetic imagination.

To be looked upon as the first of the gentler sex to hold a conspicuous position among modern French composers is no small honor. This privilege has been granted to both Augusta Holmès and Cécile Chaminade. What is more, their achievements entitle them to a footing equal in rank to many of their most eminent masculine rivals. Not content to restrict themselves only to smaller forms of composition, both of these women have aspired to higher flights in the realm even of symphony and opera. Nor have their efforts been futile, for they both have written masterpieces of enduring worth. Augusta Holmès, also known under the nom de plume of Hermann Zenta, was a pupil of César Franck. In consequence, her style and orchestration have acquired a certain solidity and dignity that act as an admirable counterpoise to the lightness of touch and dainty scoring that are to be expected from a woman. The opera "Héro et Léandre" and the symphonic poems "Irlande" and "Pologne" may be looked upon in the light of her most representative works. Better known in America is her sister-composer, Chaminade, whose charming songs and pianoforte pieces appeal to both professional and amateur. The fact of her being Moszkowski's sister-in-law has its significance in the plausible assumption that his example and guidance may have aided the full development of her creative powers. The most characteristic phase of her individuality finds expression in a pianoforte concerto and in the symphonie-ballet "Callirhoé." Both these works present much that is interesting, and are, moreover, effectively orchestrated.

It is yet too early to judge whether the fame of Gustave Charpentier (1860) is destined to be effervescent or enduring. At the present moment both the opera "Louise" and his orchestral efforts have most assuredly excited more than passing comment. Other contemporary Frenchmen, however, such as Fauré, Chausson, Bruneau, Debussy, have in turn also attracted attention, but with the exception of Claude Debussy (1862), none of them prove worthy of retaining more than the respectful esteem of the public.[88] Charpentier's "Louise" is conspicuous for its incidental episodes that are full of action, and the work in its entirety presents an attractive series of contrasted tableaux. The opera embodies an interesting experiment in that the lines of the libretto are of a decidedly colloquial genre. The music is modern in the extreme and suggests Wagnerian influence as pronounced as that of any other French composer with the possible exception of Chabrier. The latter, however, appropriated to himself little more than Wagner's fundamental distribution of orchestral forces, whereas Charpentier has unquestionably permitted the distinctive atmosphere of "Die Meistersinger" to permeate portions of his opera. The vocal parts are designedly declamatory rather than melodic, unvocal, and excessively difficult. The regisseur of the Munich Opera, Anton Fuchs,[89] declares that in all his experience at Bayreuth he never found a more knotty problem to solve than in teaching the singers the correct intonation of some of Charpentier's vocal cues. "Louise" is scored with the same due regard for proper effect that in these days is required of all meritorious composers. Although the orchestration may at times be somewhat noisy and overburdened, it reveals numerous insignia of characteristic individuality. Charpentier's orchestral music which M. Colonne has recently been presenting to the American public is on the whole analogous to that of "Louise," and the instrumentation is imbued with delicacy and refinement.

VI.

The attitude of the French public toward orchestral concert music has undergone a radical change during the last fifty years. Habeneck's efforts during the first half of the nineteenth century were indeed praiseworthy and productive, but to the modern conductors, Pasdeloup, Lamoureux, and Colonne belongs the honor of having placed concert music in France on a par with that of the drama. The story of their unprecedented activity has been frequently recorded but will bear repetition in consequence of its wide significance. The peculiar fact that until recent times practically all French composers won distinction in operatic lines before attempting orchestral works has already been sufficiently emphasized. It will be remembered, however, that even in the eighteenth century determined efforts had been made to establish orchestral concerts on a permanent footing, though they could not then hope to rival the allectations afforded by the dramatic stage. Retrospection shows us that in 1725 a brother of the composer, François Philidor, founded the "Concerts spirituels," which were subsequently fostered by Mouret and other worthy conductors. In 1770 the "Concerts des Amateurs" as established by Gossec proved such a success that he followed up the enterprise by reorganizing the venerable "Concerts spirituels." With the advent of Cherubini, French concert music received a still more powerful impetus, and through his resistless energy "La Société des Concerts du Conservatoire" sprang into existence.

This is the organization that gave Habeneck (1781-1849) an opportunity to distinguish himself. He repaid the debt with interest, for these concerts owe their subsequent world-wide fame primarily to him. Dating approximately from the year of Beethoven's death, new life was infused into this reorganized institution by reason of Habeneck's contagious enthusiasm, and it was he who initiated the French people into the inner mysteries of Beethoven's immortal creations.

In 1851, two years after the death of Habeneck, there was founded a second concert organization that was destined to bring both inspiration and recognition to many a young composer of the modern French School. It was founded by Pasdeloup (1819-1887) and went under the name of "Société des jeunes artistes du Conservatoire." It is not to be confounded with the "Concerts du Conservatoire" which continued to exist in connection with the conservatory proper. Out of this "Société des jeunes artistes" emanated in 1861 the "Concerts populaires de musique classique," which, as the name implies, was a further progressive step in affording the general public opportunity for hearing good music at popular prices. Pasdeloup's undertakings had for their original object the rendition of the best classical works. But the productions of contemporaneous composers both native and foreign were by no means excluded, and so such men as Lalo, Bizet, Saint-Saëns and Massenet were not slow to be the gainers thereby. That Pasdeloup was eventually forced into the background by Lamoureux and Colonne is but another proof of the fickleness and gross ingratitude of the general public. In vain did Pasdeloup in 1886 duplicate Godard's previous attempt to revive the "Concerts populaires," and this signal defeat undoubtedly hastened his end which took place one year later.

The career of the violinist and conductor, Lamoureux (1834), has been triumphant from the time when in association with Colonne he established a society for the performance of chamber music up to the time of his retirement in 1897. In 1873 he established an oratorio society which went under the name of the "Société de Musique sacrée." Subsequently he became conductor at the Grand Opéra as well as of the Conservatoire concerts. His crowning achievement was the founding in 1881 of the "Nouveaux Concerts," better known as the "Concerts Lamoureux."

Colonne (1838), greatest of all exponents of Berlioz and a zealous interpreter of Wagner, instituted in 1874 a series of performances under the name of the "Concerts du Chatêlet" that have since made his name famous. At the present day he still ranks as the most eminent contemporary French conductor. His activity shows no signs of abatement, for season after season finds him and his orchestra furthering the cause of French music in the musical centres of Europe as well as in America.