Ont un parfum moins frais ont une odeur moins douce

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The awkwardness and uncertainty in the former passage is not to be found here. Fauré has discovered his medium. Henceforth he will use it with increasing boldness and success.

The ‘Nocturne’ of opus 43 and Les présents of opus 46 show still more freedom in the use of constantly changing tonality. ‘Tears’ in opus 51 uses the chromatic shift of key almost continuously. But the trick has ceased to be a technical experiment. It has become a means of artistic expression. For this song, along with ‘In the Cemetery,’ shows tragic energy and a moving personal appeal which, as we have seen, had been all but absent from French song for half a century. Mandoline and En Sourdine in opus 58 are songs of consummate artistry and ‘The Prison’ of opus 74 reaches a very high emotional standard. The later songs show Fauré using generously the technical freedom which he so laboriously attained. But the songs are now less interesting. They are too likely to be abstruse without being inspired. Technically they are of extreme interest, but they suggest that Fauré had been left behind by the modern musical movement and was rather breathlessly trying to catch up.

Though Fauré’s songs do not speak with the authority of genius they are extraordinarily fine in their deftness of handling, in their delicacy, in their unfailing sense of artistic fitness. Fauré, among the first of his generation, treated the accompaniment with respect. His piano parts are filled with interesting voices and gently stimulating movement. Each song has its individuality and style. The melody is sometimes truly eloquent, but too often partakes of the colorless nature of contemporary music. In the later songs the voice part is apt to be without much charm or even existence of its own, being only accommodated to the accompaniment. On the whole, though the absolute value of his songs would not justify the relative space we have here devoted to them, they reveal a sensitive and thorough craftsmanship which French music had too long been without.

II

Emmanuel Chabrier (1841-1894) was, with Fauré, one of the great forerunners of the modern French tendency. His service was chiefly performed in the field of orchestral coloring, but his songs show the influences of the new technique and are of much value in themselves. Chabrier was a more vital man than Fauré. His abundant animal spirits can be felt in all his music. His musical ideas were not always of much value, but the creative energy of the man is felt always. He was a great practical joker and has written some of the most delightful humorous songs we have. Three of his animal songs in particular are worth study. ‘The Grasshoppers’ makes continual use of the interval of the diminished second, lightly played in arpeggio chords on the piano, to suggest the chirping and rattling which we hear on a summer night. The melody, too, is extremely graceful. ‘The Pigs’ Pastoral’ suggests the animals’ grunts and offers even more dignified points of technical interest. The ‘Villanelle of the Little Ducks’ is a masterpiece. The charming words by Rosemonde Gérard (later the wife of the poet Rostand) are caught with absolute fidelity by the composer. The dignity, the absolute soldier-like seriousness of the little birds is inimitably suggested and the clear and richly varied accompaniment shows a musicianship of a high order. The simple ‘Romance of the Star’ reveals the genuine lyric ability of the composer and his colorful romanticism is shown in the ‘Song for Jeanne’ and ‘The Happy Island.’ Chabrier’s songs show admirable energy and resourcefulness. As a practical joker the man can hardly be surpassed.

Among the pioneers of modern French music César Franck (1823-1890) holds the highest place of all. His profound musicianship, his open-mindedness, his strain of religious mysticism in the service of his high personal integrity, produced results than which French music can show nothing more admirable. A large number of the most eminent modern French composers were his pupils and their daring (though various) individualities show that his teaching was really a stimulation and nourishment of artistic power, not an imparting of rules. His songs (at least the later ones, which are all that interest us here) are few, but among them are several which are artistically flawless. The melody of ‘The Marriage of the Roses’[32] has a grace and a cogency which utterly charm the hearer. ‘The Bells of Evening’ and ‘The Procession’ have become classics in modern song literature. Technically these songs are not radical. But they make effective use of the new harmonic method, in Franck’s own peculiar and convincing manner.

Four of Franck’s pupils have done fine service in the cause of modern French song. Guillaume Lekeu (1870-1894) was an extremely talented man who would certainly have been one of the greatest of French composers had he lived to artistic maturity. His fine song, ‘On a Tomb,’ proves his creative power and his technical control. Henri Duparc (born 1848) was by birth one of the older generation and his use of the modern harmonies is conservative. Of his numerous songs some are marked by much grace and sensuous beauty, notably ‘Invitation to the Journey,’ the Chanson triste, and ‘Ecstasy,’ the last one of the finest songs of the period. Ernest Chausson (1855-1894) showed remarkable talents—energy, individuality, command over romantic expression. In his incomplete career he produced many songs, some of rare charm. But most important of the Franck pupils is Vincent d’Indy, probably the most vigorous creative power in modern French music. In him the intellectual quality dominates all the others. To many his music quite lacks charm. The gentler qualities are absent. There is no obvious appeal to the senses. But his music is extremely stimulating to the musician and if well presented can plead for itself to the general public. His songs are few, but are evidently worked out with great care. Best known is the ‘Sea Song,’ which has a large rhythmic sweep admirably suggesting the swell of the ocean. His arrangements entitled Chansons Populaires du Vivarais, though applied to the simplest of musical materials, reveal his intellectual quality of musicianship. A list of his other songs (nearly complete) includes: ‘Thecla’s Complaint,’ ‘Madrigal,’ L’Amour de la crane, ‘The First Tooth,’ ‘Mirage,’ and ‘The Eyes of the Beloved One.’ All these songs are fine and musicianly. But their appeal is limited, for many will find them lacking charm and sensuous beauty.