pianoforte style with Chopin, Schumann and Liszt. As a song
composer Fauré ranks with the highest in modern times. The ex-
otic charm and finesse of workmanship in such songs asClair de
Lune,Les Roses d’Ispahancannot be denied and the instrumen-
tal part is always worthy of the composer’s genius for pianoforte
style,e.g., the accompaniment toNellbeing a model in its free
polyphony and richness of effect. Fauré has been fastidious in
his selection of texts and he is fortunate to have been able to
avail himself of the genius of such lyric poets as Leconte de Lisle,
Baudelaire, Verlaine, Sully-Prudhomme and others. Indeed as
a song-composer Fauré may fairly be grouped with the great
German masters. His songs are not German songs, but they
are just as subtle in expressing all that is fine in French spirit
as those of Schumann and Brahms in their Teutonic sentiment.
For this reason alone Fauré is a commanding figure in modern
French music. He is also the author of a violin sonata which
has enjoyed a popularity second only to that of Franck and a
Quintet for pianoforte and strings of distinct originality.
Duparc (1848-still living) one of the earliest of César Franck’s
pupils—though working in practically but a single field and
though by reason of ill health he has written nothing since
1885—will always hold high rank for the beauty and breadth
of his songs, especiallyL’invitation au Voyage,ExtaseandPhy-
dilé. This last is considered by the writer the most exquisite
song in modern literature; its melody, its modulations, its ac-
companiment alike are flawless.[300]
[Footnote 300: An excellent collection of modern French songs
may be found in the two volumes published by the Oliver Ditson
Co. in the Musicians Library.]
Chausson (1855-1899) the most gifted of Franck’s pupils, though
without d’Indy’s strength of character, was killed by an un-
fortunate accident[301] just as he was ready for an adequate
self-expression. He had a sensitive imagination, an individual
harmonic style; and in those works which he has left—notably
several songs, a Quartet for pianoforte and strings and the Sym-
phony in B-flat major, op. 20—there is found a spirit of genuine
romantic inspiration.
[Footnote 301: While he was riding a bicycle.]
Although Ravel (1875-still living) cannot claim to be a pioneer
like Debussy—since in his music there are frequent traces of