Grove's dictionary of music and musicians

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1 A celebrated collection, with a dedicatloD to Charles IX., by
Bon.sard, wae published in 1572, nnder t1ie title '
of Meslanges de
chansons,' and it contained songs forfour, six, and sometimes eight
voices by all the best-known Gallo-Belgian composers, such as
Josquin, Uouton, Claudin, etc. These songs, like others of the
same date, have strong melodies, and are full of canonic devices.
PieiTe Rorisard's sonnets were set to music by Philippe de Mont«, in
five, six, and seven parts, and his songs In four parts, by Bei-trand
and Eeyuard. Mention should also be made of Crespel, Saif, and
Clement Jannequin, whose descriptive songs (such as the Crie de
Pa/ris) formed a new feature in music, also Gombert and Certon.
Tint with the ti-ue polyphonic song this article is not concerned.
2 When public opinion first ceased to approve this practice, composers
did not at once abandon it, but they no longer produced
vocal pieces which were avowedly parodies or adaptations ; it now
became their habit to attach their names to all their melodies,
whether they were original or borrowed. As a typical case Char-
VANTB OABRIELT.B may "be quoted: neither the wolds of which
were by Henri IV. nor the music by his maltre de chapelle, Dn
Canrroy. The air is really an old NoSl of unknown authorship,
and probably some court poet, Desportes, perhaps, wrote t3ie words.
See also J. B. Wekerlin, 'Chansons Populaires du Pays de France,'
il. 217.
3 Scudo, Critique et lAUSraturemusicales, vol. 11.
SONG 543
century. Much grace, indeed, and gaiety were was, it is true, a period after the disappearance
evinced in the poetry and music of 4he songs of the Troubadours, when the romance was
and romances of this period, and it would be threatened with extinction, by its formidable
wrong to disparage such writers as Guillaunie rival, the polyphonic chanson, but the l7th
le Heurteur, Noe Faignient, Pierre Vermont, and century saw it again in possession of all its
Fran9ois I., whose song, ' triste departir,' old supremacy. Louis XIII. wrote several ; and
with music by A. Muret, is full of feeling. But his music-master, Pierre Guedron, was perhaps
more important work was undoubtedly being the foremost composer of romances of that time.
done by their polyphonic contemporaries. ^ One of the best examples of his work, Aux
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The effects of the great change which came plaisirs, aux dflices, bergeres,"* contains modulations
which are remarkable for that date.
over vocal music at the end of the 16th century
were perhaps more marked in France and in Guedron's son-in-law, Boesset, was the author of
the Netherlands than elsewhere. Polyphonic a very famous romance, 'Caehez beaux yeux.'
music, whether in masses or in madrigab, had And the names of Beaulieu, Deschamps, Colasse,
been, as we have seen, the glory of the Gallo- Bernier, Lefevre, Lambert, and Pierre Ballard
Belgian School ; hut when once the monodic may be recorded as composers of this age. The
system had gained universal recognition polyphonic
music began to decline, even where it favourite) was a member of the famous Ballard
last (whose 'Belle, vous m'avez blesse,' was a
had flourished most ; and the French- Flemish family of music-printers and also composers.
School surrendered its individuality by absorption
into the Italian School. The French com-
iruneltes (see Brunette), 'musettes^ and other
As printers they preserved a large quantity of
posers were likewise influenced by two other dance - songs and drinking - songs. Several
great innovations of this time, namely, the brunettes were included in the great collection
-creation of discords by Monteverde, and the of the old French popular songs which A.
application of music to the drama. Henceforward
original melodies of their own invention dedicated to Louis XIV. Many were un-
Philidor copied out with his own hand, and
were expected of musicians, and the old practice doubtedly written on old Noel airs, especially
of choosing themes for their compositions in those in parts. ^ After the l7th century they
folk-songs or popular dance -songs died out, became scarcely distinguishable from romances.
though its disappearance was gradual. ^ Songs For excellent and typical specimens of the
for one voice, such as the Airs de Cour ' ' of romances of the 18th century we may quote
the early 17th century, accompanied by lute or J. J. Rousseau's Le ' Rosier ' and An ' fond
harpsichord, began to find favour and to drive d'une sombre vallee,' both of which are found
aii'S for several voices from the ground they had in his collection entitled ' Les Consolations des
occupied for more than 150 years. And that most Miseres de la vie.' The musicians of this period
characteristic type of French song, the romance, seem to have been inspired by the grace and
was soon to commence, or rather resume, a reign delicacy of contemporary poetry to create tender
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of popularity which is not yet ended. and simple melodies. Insipid as these songs
Scudo^ defines the romaiice as a song divided must seem to us now, they are thoroughly
into several couplets, ' ' the air always simple, representative of the age which produced them.
naive, and tender, the words to treat of sentiment It was the time of that singular phase of thought
and love. Unlike the chanson it is never and feeling which will be for ever associated
political or satirical. It was one of the very with the name of J. J. Rousseau ; a time of
earliest fruits of French grace, sensibility, and yeanlings to return to some imagined state of
gallantry ; and though its attributes may have
varied from time to time, it remained unchanged
in its essence from the era of the
Troubadours until the 19th century. There
native innocence, to an ideal pastoral life in
some visionary and often artificial Arcadia.
All this was faithfully reflected in the works of
its poets and musicians. Monsigny instinctively
returned to the style of the folk-song, even to
the pastourelle and complainte. His frequent
use of the minor seventh of the scale gives a
touch of medisevalism to his songs ^ :
4 '
Published in Wekerlin's Echos du Temps pasad,' vol. iii. p. 10.
It is taken from a very rare collection entitled 'Aira de Cour
de dilTdrents auteuiB, 5 llvres, publi