years, seem to have been remembered by our French music, in order to realize certain archaical or naive coloring (for instance in 'The Childhood of Christ' by Berlioz). But gradually the ear again began to understand and love them, realizing all the beauty to which they might be the support. Cæsar Franck and above all, Chabrier, Fauré, Debussy came at times, to think naturally by means of these gamuts. They are written to-day in as fluent and instinctive a manner as the classical major and minor. Our art inherits a priceless antique treasure, the language of contemplation and mystery. And the old Celtic groundwork of our soul finds again, in song, the modes of Brittany of ancient times. At the same time (and to begin with Chopin who was the first to proclaim the splendor of the starry night of which the classics thought so little, and which is adored by modern music) was revealed the grandeur of the Slavonic dream, the vast domain of which extends from the popular airs purely Russian, to the chromatic melopoeias of the Musselman world. The Andantes, so exceedingly nostalgical of Borodine, the dancing choruses of Prince Ygor, Thamar by Balakireff, 'Sheherazade by Rimsky, then finally the truly genial work of Moussorgski (by reason of his audacity, he was long considered an amateur). What glimpses of new horizons! These diverse elements are harmoniously dissolved in the crucible of our national genius. It established the strange light and the dreamy charm of the Slavonic art, as it had "naturalized the use of the antique modes; it retained from Islam the fancy for the supple arabesques and had not forgotten the Javanese music (so refined in the tone of its accords) which enchanted us at the Exhibition of 1889. Enriched by such means, improved by the profound studies of harmony and the practice of the counterpoint of J. S. Bach,- to the beneficent emanations of poetry and art, the domain inherited from Berlioz, Gounod and Cæsar Franck saw marvelous new plants blossom with bright, sweet-scented flowers. The reaction of the sun on the dark pessimism that I have described was the work of Chabrier, graceful elegant, candid, sincere and charming;- of G. Fauré, whose pure art evokes that of the painter of Ombrie, so Greek in Penelope,' so profound in his imperishable melodies from which the true nobleness (to the contrary of hypocritical common prejudice) of the soul of Verlaine is released and lastly Debussy, whose 'Prelude to the Afternoon of a Faun' came like a thunder-bolt, in 1892. The first of modern musicians, these three masters revealed to us a clear and measured art, really "Mediterranean," thoroughly French. Emanuel Chabrier, so truly original and to whom our school owes so much, offers the example of a very free artistic nature, very naive, superior on the whole: to have the downright courage to affirm and to write whatever one likes, no matter the subject and the character. His natural good nature, rich in enthusiasm and tenderness illuminated the music with happy joyous rays. Its greatest charm is, not only the pleasing sonorousness, but especially a simple mindedness, just and good. Some critics only grant him the genius of the comic art: a very narrow judgment. Without doubt Chabrier was a wonderful author of parody ('The Star', and, The King in Spite of Himself,'. are in a way master-pieces) but he was also a refined artist, a lover of musical beauty and of the picturesque. He showed, if one may say so, an entire lack of pedantry. Coming from the operetta, one discerns in this unassuming artist a charming resignation to be only what he is. In other respects, by his melodious, liveliness, his discoveries in harmony and the charm of his personality, he seems to me greater than one would imagine. If he were free with regard to subject, no one more than he was more submissive to the reasonable claims of the ear. But while satisfying, for his own, pleasure, the secret instinct of that ear, he justly respected the true rules of art, those hidden, mysterious principles, moreover infinitely varying with the works, and which the intuition of the artist alone knows how to obey. In this way Chabrier acquits himself of the first duty of every musician, as our young French school understands it to-day. Very different from Chabrier, the same cult of the sonorous beauty, the same very frank, decided will to write whatever he likes, also characterizes G. Fauré. His most uncommon gifts which have sometimes made us say (as of Gounod) that he is "music itself," combined with such exquisite taste and prophetic imagination, G. Fauré is one of our greatest; masters. His art is like that of the ancient Hellenes, of an entire purity, discretion and harmony, not excluding, however, depth and penetrating charm. The construction of his phrase is really inimitable. In order to define these words "Fauré's way" you might as well crush the marvelous wings of a butterfly between your benumbed fingers. One cannot explain the great and delicate mystery of the 'Arpeggio' or the 'Moonlight. Let us only state, on the whole, that this class of music. is the most faithful representation of the senti ments uttered by the poets. A portion of; Fauré's works is known to consist of unrivaled melodies, written on the verses of Verlaine,, Samain, Leconte de Lisle. The material dimensions matter little, a simple melody which is really beautiful like the 'Imperishable Per fume, is worth more than a series of tedious sonatas. On the other hand, let us acknowledge,. the power of charm (a dangerous error to, think the expression of brutal force more powerful). Here, this charm is the Latin, Carmen and there is a magic in this music, so mysteriously, so entirely musical. Besides, it did not require much to make Fauré's song heard with still greater force. He seized the opportunity and conquered. His 'Prome-{ theus, at once simple and concise, shows splendid vigor. His 'Penelope, of a wonderfully Greek art, interprets the eternal humanity of the old Homeric legend. This style scarcely offers anything else but, known accords, linked, however, mostly by "exccptional resolutions" very new and altogether characteristic. Debussy, likewise, makes use of many new "linkings." But let it be distinctly affirmed that he possesses all the fine qualities of a French classic. If he be essentially of our epoch (in order to give a more just expression, to contemporaneous appreciation, no one ever appeared so precisely at the right moment); if, by this happy concordance Pelleas and Melisande' (in spite of so much that is surprising 680 in the style) called forth numerous and sincere commendations, it is none the less a perfect. classical work. At the present time we discern in it that good sense which knows how to reserve its means; one enjoys the soberness of the writing and scoring. It is false to say that 'Pelleas is a "conThese tinuation of perpetual dissonances." latter are realized with an extreme softness, and attached to them, perfect accords play an important part. Those who remained bigoted followers of Wagner, judged that there was nothing in Pelleas' precisely on account of that conciseness, that admirable fact, and because Debussy made use of no long developments in The art of order to interpret his thoughts. Moussorgski had revealed to him by what genial curtailings the author of 'Boris Godunoff knew how to depict such a sentiment or vision. He drew from it the boldness to free himself from all restraint as regards rules, every time his natural instinct demanded; the law of all original beings from Monteverdi to Beethoven, from Bach to Stravinsky or Schönberg. This instinct, so sure, combined with the good fortune to have known Stephane Mallarmé, and his associates, had guided him to a new study of books, precisely those charming "little dramas" of Maeterlinck. His direct interpretation of nature has caused Debussy to be classed among the "impressionists." those who only half appreciated him readily add "particles of sounds, contempt of all construction." This is a very correct opinion. scenes of 'Pelleas' especially are well combined, because an impression of unity proceeds from them, of harmonious lines, and because the form is exempt from tediousness. Study the 'Prelude to an Afternoon of a Faun the 'Nocturnes,' 'Iberia.' And The You will be convinced that it is not a question of "sonorous dashes" It is the freshness of set down by chance. a sketch in front of the landscape combined with the quality of the pictures of finished composition. Lastly, like Chabrier and Fauré, Debussy has never looked upon the charm of music as a faulty thing. And the neopaganism of this tendency has only that which elevates it. It is none the less opposed to the materialism of the theatre veritist than to the scholasticism A pantheist, he of misunderstood tradition. adored, as divine, the beauty of the material, or if one prefers, he decks it with all that is divine in man, that is the exact opposite to commonplace art. In France, at first, and for a few years in foreign countries the repercussion of this music has been considerable. 'The Pavan for a deceased Infant,' by Ravel, at first appeared confusing; it strikes us to-day by its classical and regular beauty. After 'Pelleas,' all music, irregular, new, unexpected, seems Debussyst to the ears of critics. As such was entitled at the first hearing, 'Psalm of Fl. the vigorous and sonorous Schmitt, so remote from the Nocturnes or 'Iberia.) As much was said of Ravel's 'Imitations! Nothing is more unjust. RelationBut before all, let us ship, influence, be it. consider the general course of events, the state of the mind, of art, of literature, the preceding chance discoveries of our masters, the music of the "Five Russians," the need of natural reaction against the factitious research for ex pansion, these are many of the reasons which must possess some genuine originality in order The history of the Debussyst revolution is then only a natural episode of the onward march of our musical art. The origin of this progress dates from more than 20 years, and this lapse of time permits us to measure the fulness of its effects. We now perceive much better, that a refined harmonious elegance does not exclude, either a sound musical condition or even force an intense expression (quite the reverse), or the simplicity of the whole which includes many more mysterious reasons. mas. And this irresistible thrust was the last assault against the fortress of "false dog* We can thus make the enumeration. 1. Rules of harmony prohibiting certain linking of accords; certain arrangements of successive seconds, fifths, sevenths or ninths; false connections, appogiaturas or retardations heard with the true note, irregular resolutions, etc. Contemporaneous scoring has definitely acquired liberty; but it is easy to find many a derivation from these rules in Palestrina, Monteverdi, Bach, Mozart, Beethoven, Chopin, Cæsar Franck, Gounod, Bizet, SaintSaens, Bruneau, Chabrin, Moussorgski, Borodine and more recently Fauré, Debussy, Ravel, Schmitt, etc. The right to these liberties is then ancient, classical and just. They have formed the subject (with some examples taken from the French school) of a remarkable book by René Lenormand 'Study of Modern Harmony.' But this is only a small portion of the license, so necessary, taken by our music which, from all sides, breaks through the too narrow restrictions. Let us note also: 2. New views on the tonality and on the modulation. The ancient Greek modes serving as the natural expression of the phrase; the modulations written with great independence: some pieces exist which have no longer the unity of tone of past times, but keep a continuation, a cohesion, an incontestable musical logic (moreover, we must call attention to the importance accorded to the unity of sentiment of our day). * Let us remember here the exceedingly interesting work of our colleague John Huré, Musical Dogmas.' 3. Liberty of rhythm and of melodies. Disappearance of the prejudice of the "width" sometimes even of the bar of measure. Rhythms varied and animated as in those of blank verse. 4. Liberty of the symphonic style which may adapt itself to anything else than to the scholastic development, called "First pieces of symphony." 5. Finally, the very accurate idea, that the magnitude of a work is not measured by its material duration, or its sonorousness, neither to the more or less forcible hold of the rhythm, but to the beauty, the elevation of the idea, and to the harmony of its development; the whole being only a matter of proportions. The history of the French symphony has made us temporarily abandon that of the theatre. But at the present day our best musicians make no absolute distinction between these two acts. The theatre adapts itself very easily to a symphonic style, as a proof, that of Mozart. In every instance, good music is necessary and no exigency of scenic action would excuse bad music. In what might be called the "theatre of the soul," the first example was given to us in the 'Dream, by Alfred Bruneau, the music of which, so sincere and faithful, interprets the emotions of the heart in a language which is not out of date. Under the influence of Zola, Bruneau has since reverted toward a broader style of art, of great force in 'Messidor) and in the 'Hurricane,' but the 'Dream' marks a fortunate date in our musical history. Much discussed as its origin, it remains a model of which more than one will be inspired. Notably Charpentier in his 'Louise, certain pages of which have lost neither their ardor nor their beauty. I have somewhat lengthily described the music of Chabrier, in order that one may deduce from it the praise of 'Gwendoline' and of 'Briseis: the same that of 'Guercœur and of 'Berenice' by Magnard, not forgetting the dramas, so convincing of d'Indy, who wrote the fine poems in them: 'Fervaal' and 'The Stranger of which certain people are great admirers. Lastly, in a style, concise, measured and chosen, 'Pelléas and Melisande indicates the hour of definite reaction against the influence of Wagner; and, like the 'Dream,' shows the nothingness of the Meyerbeerian conception of the "exterior theatre." The true road (that of the tradition of Gluck and of Monteverde) was traced by the garden act of Faust' as well as by many scenes in 'Boris Goduno' (q.v.). For that reason, our finest lyrical contemporaneous works all obey this careful observation of musical quality, and of the accuracy of the sentiment. This does not at all exclude the rhythm or the vitality, examples: the splendid drama of Paul Dukas, Ariadne and Blue Beard'; the touching 'Daughter of Roland' of Raband; the charming Heart of the Mill, by D. de Severac: the masterful 'Macbeth' of Ernest Bloch. Moreover, symbolic or otherwise, the form of the book matters little. A simple adventure could be a link to very fine music, for example, the Brief Life' of M. de Falla, a young Spanish master very justly esteemed, who has lived during the last few years in Paris, where his pieces were performed; and again those of Laparra, the (Yola and the 'Habanera,' of vivacious and characteristic character. In this history of our modern art the comic theatre merits a place apart, none the less from the value of the works than the tendencies which they announce: the conception of purely musical laughter. The operetta and the former comic opera aimed still more at agreeable music, amusing, gay, superficial on some occasions; and the laughter sprang from the text, from the performance of the actors, more than from the musical style of interpreting the inner sentiment of the character; scoffing, bantering, or ridiculous. And that is quite a new notion for the public. The Star of Chabrier, had no success: an admirable parody, the comic of which was not discerned (yet, intense, and so evident to cultivated ears). Besides, this peculiar language of music, from which the smile is born and out of which springs laughter, some examples are already met with in certain pages of the "King in spite of himself," in Carmen,' in the "King has said it," by Leo Delibes, in 'Phryne' of Saint-Saens, even in 'Madame Angot's Daughter' by Charles Lecocq. Whatever may be the cause, musical comedy is not yet completely realized, in which the composer closely follows a poem from real life (as the author of the 'Dream' and of 'Pelleas' have done in the domain of tragedy). But these last few years have seen two very interesting attempts due to musicians of the highest order, The Spanish Hour,' by Ravel, and Marouf, by Rabaud. The music of Ravel is the exact interpretation of the parodic and fantastical humor of the poet Franc-Nohain. The seriousness of an inperturable dry-jester, the precision of a highly lucid mind, a historiographer of puppets, an insinuating style of an irreproachable appearance; all these form an entire assemblage of the most characteristic and novel kind. The inimitable 'Stories from Nature' (prose by Julius Renard), already asserted that sense of the comic in Ravel, of an imagination, so apart, and which to be appreciated at its true value, demands a real musical culture. 'Marouf, Rabaud superbly revives the comic opera, transfigured, thanks to a masterly symphonic style. The real musical comic is revealed more than once, the talent beyond comparison of the principal interpreter, G. Perier, completes the whole. The ampleness of style is not prejudicial here to the equilibrium of the proportions, nor to the gaiety; and the oriental coloring, never monopolizing or artificial, is harmoniously blended with the music itself. It goes without saying that in this general review and considering the richness of our school, a great number of our talented composers cannot be studied here. Let us not omit, however, a few of the predecessors of Rabaud, notably Messager, with his amusing and concise Basoche,' and G. Pierné in his Tabarin's daughter,' as well as in his witty songs, or still more so his "Scherzo" of the Year one Thousand' in which his disposition is happily exhibited. Midway between the drama and the comic_opera, Ascanio' and (Proserpine) of Saint-Saens are perhaps since 'Samson and Delilah,' the most successful theatrical works. The charm of the pure lines of the Renaissance is found there again. As to the lyrical dramas, if we cannot name all let us remember the 'Country,' of Guy Ropartz, In the 'Forest,' by A. Savard, 'Scemo,' by Bachelet; the 'Return' by d'Ollone, who follow the action with faithfulness, earnestness and with a well sustained musical skill. Thus a tendency toward music for the theatre became generalized, which ought to be, first of all, music. Classifications, even logical, are never absolute, and there are some artists who remain isolated, The Celtic school forms a separate group. These are musicians (for the most part natives of Brittany, Irish or Welsh) to whom, at times, the consciousness of their inheritance, reveals that the Latin culture (they think so) has left no durable traces in their Armorican souls. They go to the fountain head of the ancient airs of Brittany: such as Guy Ropartz, whose 'Country testifies a profound love of his native land; Ladmirault, Duhamel, Paul Le Flem who transcribed some popular songs or were happily inspired by the moor and the forest of Brittany. And we can connect with these John Huré, a fervent admirer of the Geogorian chant, and the ancient modes.* A few French provinces have their own languages. We have mentioned the Basque airs of C. Bordes; the same corner of French soil is evoked in the Trio of Ravel. D. de Severac is faithful to his Languedoc; Paul Lacombe (of the generation of Saint-Saens) is inspired by the radiancy and the happy philosophy of the South. The familiar muse of F. Berthet, sensitive as much as restrained, retains the beloved memory of the friendly slopes of the Beaujolais; that of Dupin shows that he has been brought up under the misty skies of the North, in the atmosphere of country fairs: a "popular" musician in the best sense of the word. The soul of the humble, of those whose lives are hard, resounds in his voice, resigned and dignified, wherein mutters a great spent force, breaking out into violent explosions, sometimes into gaiety and enthusiasm. Fanelli precursor, in many respects, and whose 'Pastoral Impressions> contain some real beauty, cannot either be classed in a very definite manner. Lastly, a few composers more often organists-attracted by preference to sacred music, also remain in a way isolated-as Tournemire whose forcible and high class work (note particularly his VI Symphony) are not of those that will pass away. There were often strifes between such groups. It would be wrong to deplore them; they show the free vitality of our art; as a tree of vigorous sap branches out naturally. Likewise, one remarks with us some logical schisms which are inevitable. The National Society after a first breach (departure of Bizet, Massenet and Saint-Saens) saw also the detachment of the Independent Musical Society, "I. M. S." at the same time in which the National Society seemed to assemble and to play, especially, the works of the pupils of the Schola Cantorium, where the principles of teaching were applied by d'Indy. The I. M. S. invoked rather the general ideas of Moussorgski and of Debussy, their style being equally directed toward the music of Chabrier or of Fauré in preference to that of Dukas or of d'Indy. They thus comprised the greatest number of composers who had been enthusiastic *It is thus manifested in his exceedingly beautiful interpretation of a nostalgic popular Song of the Sailors of Brittany. over the conquests of the "Debussyst movement.» The rivalry of these two groups did not occur without exciting their energy; a great number of interesting works were heard (temporarily put on one side by the committees of the grand concerts Colonne and Lamoureux, always more timid in their choice); notably, at the orchestral recital of the I. M. S. the superb 'Psalm of Florent Schmitt (this musician is one of the most influential of the younger generation, and his quintet has the force of some classical works); the last act of the 'Cathedral' by John Huré; a tableau of the 'Blue Forest' by L. Aubert; Gold by the Sea,' symphonic poem by the ingenious and spirited Delarges and the Vintage by the author of this article, Charles Koechlin. On its part the National reveals the fine 'Evocations of A. Roussel, a sensitive and profound musician; Margaret's Garden' by Roger Ducasse; and the Hasselmans concerts, the Heliogabale' by D. Severac. And a complete pleiades of musical directors, active, remarkable musicians, confident in the art of the future, such as, Ingelbrecht, Rhené Baton, P. Montense, Robert Schmitz, gave ample proof in the most brilliant manner. Aided by these societies (and by others which have sprung up since the war), the impetus of our present chamber music requires that we stop there. The characteristic of these recent works seems above all, vitality. In conclusion, ancient Greece, far back in the ages, remains our imperishable model. But we perceive that at the present time, even the gamuts of her music have become familiar to our understanding, and that we are also penetrated afresh by the beauty of the Gregorian chant. Therefore, we may. hope for a return to a higher sacred music, less theatrical and as it was formerly, more collective. The art which will resound in this manner, whether it be in the church, or in laical hymns at National ceremonies, will, moreover, have benefited by all these discoveries of the expression of a subjective and personal art; and the latter will none the less continue its vitality, whether in the theatre or in the symphony, also as in that which we call "melody" for piano and singing (with us so distinct from the German "lied"), or again in compositions of the same kind, but more developed, in which whole pages of prose would be interpreted in a familiar action, a "musical novel." One sees the variety of ways in which our music may be handled with fresh resources. The present is a guarantee for the future. And this present is linked to the past, it continues and completes it. CHARLES KOECHLIN, Composer, Music Critic of the Gazette des Beaux Arts, Paris. 17. FRENCH ART. The Sources of the Renaissance.- Art in France, as in all European countries, emanated-in its two essential forms, sculpture and painting-from architecture. Frescoes and statues, exclusively of sacred legends, served to decorate the churches and palaces. It was but gradually — during the last five centuries only-that French painting especially, has been divided into historical painting, landscape painting, genre and still life, and that sculpture has, according to Spencer (who explains the evolution of the history of art by the law of differentiation), become "heterogeneous" through the variety of subjects, both realistic and ideal, of which it treats. Mosaics play a prominent rôle in the decoration of basilicas, and later of Christian churches; Byzantine influence extended to iconography and to the miniatures in missals. The development of art, from the Roman churches of the 11th century to the Gothic cathedrals of the 13th century, attained unprecedented perfection. The sculpture of the cathedrals of Chartres, Amiens, Rheims and Paris - by their simple and exquisitely naturalistic forms realized the highest ideals. The decoration of the façades and the portals, like a living encyclopedia, fully reflects the faith and the aspirations of an age of earnest religious belief. All the industrial arts, ornamental sculpture, cabinet-work, church windows, missals and goldsmiths' work, were in unison in the Middle Ages in France. The director of the work was, at the same time, sculptor and painter as well as architect. In the 13th century, French decorators turned aside from Byzantine rigidity and archaism (Sainte Chapelle de Paris, and Donjon of Coucy, the latter destroyed in 1917 by German vandalism). Then the workmen were employed in decorating the dwellings of the nobles. Charles V and the Duc de Berry exercised a great influence over the French school. The court of the Duc de Bourgogne vied with that of France in the magnificence of its arts; calling itself the great The Chartreuse de Bourguignonne school. Champniol near Dijon, is the most significant example. On the other hand the works ordered by the popes during their sojourn in Avignon were not without their influence on French decorators, bringing them in contact with Italian artists. Jean Fouquet, a portrait painter, limner and fresco painter, connected with the court of Louis XI, made this progress still more apparent. Jacques de Litemont decorated the chapel of the house of Jacques Coeur in Bourges. The sojourn of the court on the banks of the Loire brought a great many artists to Touraine and those from Italy brought with them the new lessons they had learned from antique art. Jean Bourdichon of Tours and Jean Perréal, brought back by Charles VIII when he returned from his expedition to Naples, rivaled the ultramontane artists. Un With Francis I Italian decoration and style reached their zenith: at Fontainebleau, the king placed a great many painters and artists skilled in stucco under the direction of Primatice, which resulted in the beautiful gallery of Francis Ione of the most perfect "ensembles" that the Renaissance has produced. der Henri II and Catherine de Medici the school of Fontainebleau followed their lead. While French architects and builders attached to the kings of France erected the Chateaux of Gallon, Blois, Vendôme, Chenonceaux, Fontainebleau, Ecouen, Anet, Chambord and lastly the Louvre and the Tuileries, which have made the names of Pierre Lescot, Philbert Delorme and Jean Goujon illustrious, their wonderful tombs and fountains are to be seen everywhere. Conspicuous in French sculpture are the names of Michel Colombe and of Ligier Richier, and later, in the reign of Francis I, that of Jean 683 Goujon (who was the first in France to do The 17th Century.- During the great ex- Sculpture, in its turn, was held in leading strings. Girardon Coysevox, Nicolas Coustou and Lemoyne designed great works along these lines. It was only the genial Pierre Puget whose ardent and passionate temperament would not yield to discipline. Thus he lost the favor of the public, who leaned toward the style of LeBrun in his great decorative enterprises. It was these artists who peopled with marble Versailles, Trainon, Marly and SaintCloud. In painting there was the same love of display, except in the works of the Le Nain Simon brothers, who portrayed the peasant. Vouet, in the reign of Louis XIII, ushered in Le Brun. Nicholas Poussin, whose style in historical landscape is unsurpassed, lived in retirement in Rome, where he formed the style of wonderful analyzer of Claude Lorrain -a light, aside from this movement in which even the austere Philippe de Champagne and the suave Le Sueur took but little part, LeBrun is the artistic spirit of the 18th century in France. The position of Director of the Academy having been created for him, he grouped the artists as he wished. To him is due the stately gallery of Apollo in the Louvre, and his artists Lemoyne, Monnoyer, Audron, Berain, Bourdon, Coypel, la Hire, Jouvenet, Van der Meulen, Regaud and Largilliere painted portraits in a wonderful dashing style. Decorative art reached its apogée in the Gobelins manufactory of tapestries supported by the government, and in the cabinet work of the Boule family. Exceptionally original talent was now seen in engraving-that of Jacques Callot. The 18th Century.- A very natural reaction from the pompousness of the 17th century resulted in the piquant grace and the sensuality of the 18th. Caprice and subtle delicacy took the place of dull etiquette. "Pretti |