Grove's dictionary of music and musicians

546 SONG
nature and its elements, of the earth and of
the growths of the soil has asserted its empii-e
in the kingdom of art. i But while the influence
of the folk-song conduced to simplicity, another
influence stamped French song with a new
impress. Cesar Franck (a Belgian by birth
but a naturalised Frenchman), a profound
scholar, an idealist by character and aims
alike, raised the level of contemporary art to a
greater seriousness, and gave it a more complete
emancipation. In his works, depth of feeling,
profound humanity and austere beauty combined
with a consummate mastery of technique are
undeniable qualities. But the special quality
assimilated by the younger school of French
song-writers is the element of mysticism. In
C^sar Franok's song, La ' Procession, ' a noble
simplicity and fervid mysticism are displayed,
which exemplifies what has been said above.
In adopting Franok's mysticism, it is stated
that some of his followers have forfeited their
race qualities of clearness of design and straightforwardness
of expression. But their gains are
manifest if we study the songs of Gabriel Faure,
- Vincent d'Indy , and Alfred Bruneau, and compare
them with the romances and songs of the older
school. Among this younger generation songwriting
is on a far higher plane. Gabriel Faure
is a song- writer jmr excellence. Both in quality
and quantity he ranks highest. His kinship
with Schumann and Cesar Franck is apparent,
but withal he is original. The exquisite form
of his melodies, the fancy displayed in his
accompaniments, his whimsical, but always
justified harmonies and modulations are all his
own. In many of Faure's songs there is a
profound sadness and deep pathos, but without
crudeness. Again, over others there is cast a
dark veil of mysticism which necessitates an
intimate knowledge of the songs before they can
be appreciated. In A. Bruneau's songs there is
more strength and freedom, humanity and
realism, yet great rhythmical beauty. Vincent
d'Indy's songs show extreme delicacy and
refinement, but a somewhat morbid restlessness.
Claude Debussy possesses originality, and a
certain aloofness of thought. He seems to
wish to express not what he feels and sees, but
the passing impressions of his dreams and ideals,
and the atmosphere of the poem he sets.
To the above names may be added many
others who have treated the form of song
with the same serious aims. The following
have produced songs of real distinction and
interest : G. Charpentier, Reynaldo Hahn, E.
Chausson ; also L. "Wurmser, C. Blanc, E. Moret,
P. de Breville, H. Duparc, H. de Gorsse, E.
Trtoisot, L. Moreau, P. Vidal, G. Marty,
S. Rousseauj Hillemacher freres, G. Eopartz,
A. Chapuis, A. Gedalge, De Castillon, G. Hiie,
M. Ravel, and many others.
I Bruueau'B LiedB de France.' and Ohansone ' ' & Danaer ' form a
striking example of the above qualitiea.
It is necessary to add that modern French
poets have had a great influence on these
composers, and there exists a close sympathy
between them. Obscurity of form, eccentricity,
a feverish egoism which tends to over-subjectiveuess,
a subtlety which to an exaggerated degree
substitutes suggestion for expression are the
worst features of the school. An aptitude for
intensity in the presentment of emotional
themes, and an acute perception of the artistic
values of personal emotion, a ke^n appreciation
of evasive effects, of the fugitive and illusive
beauty of sounds, implied or felt rather than
heard,—these are amongst the gifts they have
utilised to the full.
To sum up we may quote M. Bruneau's words,^
that the young French song-writers have all
the same aim in view, though they approach
it by different roads. Some by the old healthy
conventional methods, some through the free
paths of life and nature, and others through
the labyrinth of unreality and mysticism. But
their aim is the same—^that of pure art and
beauty.
The folk-songs of France vary widely in every part,
and each province is worthy of separate study.
Fortunately a vast number of these songs have been
carefully collected ; and all that can be attempted here
is to indicate the general characteristics, and refer the
student to the various collections.s In Paris and the
other large cities in France, the popular songs of the
hour are only favourite tunes from comic operas, or
those which have "been heard at a caf6-chantant.4 But
in the country the real folk-songs still e^st, and their
distinct attributes are generally determined by the
locality to which they belong. The airs of Southern
France are distinguished by exuberant gaiety and
graceful poetic sentiment. Many of them resemble
the old Troubadour Songs, as for instance the wellknown
O ' Magali.' S Tlie songs of Auvergne and Bourbonnais
are chiefly hffwrrees, and Burgundy is rich
in Noels e and drinking-songs. The Beamois airs
are patriotic and melodious, 7 and their words mostly
of love ; while, on the other hand, the subjects of
the songs of Normandy are generally supplied by
the ordinary pursuits and occupations of life. The
mill-songs and the begging-songs, called eiiansmis de part
a DieUt are especially common in Normandy, and Rave a
character of their own. The couplets, of the former
consist of two lines with a refrain. This refraiii, in
which the audience joins, forms the principal part of the
song. The words are usually meaningless syllables of a
merry kind, such as tra In la, or ton rdotfm, ton torvtaine,
la iontaine. But the refrains occur in the folk-songs of
every part of France ; each province having its own
kind of refrain of apparent nonsense-syllables, which can
only be explained in patois. The May-time songs of
Champagne and Lorraine are very numerous and
beautifiiT.8 The character of the songs of Brittany has
been best described by Rousseau :
'
Les airs ne sont
pas piquants, mais ils ont je ne sais quoi d'antique et de
doux qui touche a la longue.' But their grave beauty
B Za Musique Pram^atle.
3 See especially Champfleury and Wekerlin'a ' Chansons Populaires
dee provinces de Prance,' where individual examples are given from
every part of France with Intereating remarks.
4 A few composers have attempted to supply songs of this kind,
such as Pierre Dupont, who wrote for the jiev^lc, Darcier for the
ouvrter, and Nadaud for the bourgeoU class.
^ Ambros quotes the modern Provencal air as having a strontc
resemblance to an old dance-song, anterior in date even to the 12th
century. Gevihichte dsr Mu^k, ii. 242.
s Phllibert le Due has collected some curious Noels in his
'
NoSls Bresaans.'
^ Chanipfleui-y gives a beautiful old example : the Cantiqua
'
Autonuat' by Jeanne d'Albret 'en accouchant Henri IV.'
n In nearly every CJianvm de Mai, from Lorraine, the curious old
word Trimazo occurs, the meaning of which is as obscure as that of
the word TrlnuiuseUe mentioned above.