[282] Already cited on [page 57], [Chapter IV].
[283] The indication by letters is the same in the full score as in the version for two pianofortes.
[284] This school may be said to contain two groups: one, the pupils of César Franck—d'Indy, Chausson, Duparc, Rousseau, Augusta Holmès and Ropartz, the chief feature in whose style is a modernization of classic practice; a second consisting of Debussy, Ravel, Dukas and Florent Schmitt, whose works manifest more extreme individualistic tendencies.
[285] The well-known German scholar and editor Max Friedländer, who visited this country in 1910, acknowledged—in a conversation with the writer—that he had never even heard of Chabrier!
[286] D'Indy's significant contributions to operatic and choral literature, such as Fervaal, L'étranger, Le Chant de la Cloche and La Légende de St. Christophe, lie without our province.
[287] From the Cévennes region whence d'Indy's family originally came.
[288] See the elaborate analysis by Mr. Mason in the essay above referred to.
[289] For a detailed analysis the student is referred to the account by the composer himself in his Cours de Composition Musicale, part II, pp. 484-486; to Gilman's Studies in Symphonic Music and to Vol. 3 of Mason's Short Studies of Great Masterpieces.
[290] From this comparison we should not wish it to be understood that Debussy is merely an addition to the standard Romantic group of Schumann, Chopin, Liszt, etc.; his style, however, is surely Romantic in the broad sense of the term, i.e., highly imaginative and individual.
[291] The très exceptionnel, très curieux, très solitaire Claude Debussy as he has been aptly characterized.