known in England, except by name. Born in 1852, this composer has
produced a number of works, the value of which has caused him to be
regarded as one of the most earnest and promising amongst the younger
French musicians, as well as one of those who consider their art as
sacred, and do not seek the suffrages of the masses, but are content
with gaining the approval of a select few.
The entire modern French school is strongly tinged with Wagnerism, but
the essentially Teutonic nature of Brahms would seem to render his style
absolutely uncongenial to a French mind. According to Mons. Hugues
Imbert, the impression caused upon Vincent d'Indy by the perusal of
Brahms' "Requiem," in 1873, was such that he forthwith started for
Germany in order to become acquainted with the master. He first sought
him in Vienna, then at Munich, and finally came across him at the
Starnberger See, in Bavaria. The result of the long-desired interview
does not seem to have been so satisfactory as it might have been, the
German composer receiving the young enthusiast with a certain amount of
reserve.
The first work by Vincent d'Indy which was given in Paris was the
overture to the "Piccolomini," which forms the second part of Schiller's
trilogy of "Wallenstein." This took place in 1875. It was not until five
years later that he terminated his symphony bearing the title of
"Wallenstein," a composition conceived upon a large scale, displaying a
marked capacity in the handling of the orchestra, and revealing
symphonic aptitudes of a high order.
Perhaps the most remarkable work that Vincent d'Indy has as yet produced
is his dramatic legend "Le Chant de la Cloche," op. 18, the words of
which are adapted from Schiller's well-known poem. This composition was
awarded the prize offered by the city of Paris in 1886. The
predominating influence in this work is that of Wagner. Perhaps somewhat
unduly complicated in the matter of detail, the score is remarkable as
an example of consummate workmanship and as an evidence of the lofty
aspirations and elevated ideas held by its author. I must not omit to
mention the Symphony in G for piano and orchestra, op. 25, which has the
merit of decided originality in the matter of structure. It is divided
into three parts, and is mainly constructed upon a French popular
melody, which is subjected to a variety of transformations. So far, his
only contribution to the stage consists in a one-act opera, entitled
"Attendez moi sous l'Orme," played some ten or twelve years since at the
Opéra Comique.
Vincent d'Indy is essentially a symphonist, and the same may be said of
Gabriel Fauré, whose talent and originality English audiences have
occasionally had an opportunity of appreciating. The _habitués_ of the
Monday Popular Concerts will not have forgotten a certain quartet played
at these exclusive gatherings a year or two ago, and amateurs may
recollect the brilliant violin sonata which Saint-Saëns introduced on
the occasion of one of his last visits amongst us. Every violinist
plays, or ought to play, his delicious "Berceuse."
Fauré, who was born in 1845, has written works of high musical value,
such as the quartet above mentioned, the violin concerto, op. 14, and
the symphony in D minor, op. 40. Many admirable songs and a large number
of pianoforte works are also due to his pen.
Mons. Hugues Imbert commences his interesting notice of the composer,
included in his "Profils de Musiciens," with the following words: "If
there be a French musician who by temperament and taste has left the
French school in order to approach the German symphonic school; if there
be a composer who has the profoundest respect for his art, who loves it
with his whole soul; if there be a man who despises self-advertisement,
and is averse to all concessions in favour of the doubtful taste of the
public, it is Gabriel Fauré."
Whilst agreeing with the measure of praise allotted to the composer in
the above lines, and recognising the influence of German music
discernible in his works, I am of opinion that his nationality is
perhaps more marked than his biographer would seem to imagine.
The nature of Fauré's talent has been appreciated by Mons. Camille
Benoit in these terms: "Fauré's talent has especially manifested itself
in 'La Musique Intime,' that which one hears in an artist's salon or at
a concert of chamber music, that which wants neither scenery nor
orchestra. From all points of view, if I had to liken him to a
contemporary foreign composer, it is to the Norwegian, Eduard Grieg,
that I should compare him. That is to say, that in France, G. Fauré is
the first in the special line he has chosen, and towards which his
nature has impelled him."
I now come to a composer who has only comparatively recently made a
name. Emmanuel Chabrier was born in 1842, and commenced his musical
career somewhat late in life. Always a musical enthusiast, and having
found time to cultivate his favourite art as a pastime, he threw up an
administrative appointment in 1879, and resolved to devote himself
entirely to composition. Two years previously he had written an "opéra
bouffe," entitled "L'Etoile," which was played at the Bouffes Parisiens.
It was not, however, in this style that he was destined to shine. Very
different is "Gwendoline," an opera performed for the first time in 1886
at Brussels with great success, and which has since been given in
Germany, notably at Carlsruhe and Munich, and is, I believe, shortly to
be mounted in Paris. Highly imaginative and poetical, this work must
undoubtedly rank amongst the best operas that have emanated from the
brain of a French composer for many years. The intense admiration that
Chabrier entertains towards Wagner has not obscured the individuality of
his own musical ideas. Ernest Reyer wrote an extremely eulogistic
article on this work, from which I will cite an extract:--"Je me trouve
en présence d'une oeuvre extrêmement intéressante, renfermant des
pages superbes et qui dans ses parties les moins saillantes, porte quand
même la griffe puissante d'un compositeur admirablement doué."
For some reason, which I do not pretend to fathom, Chabrier has
introduced a popular Irish melody into his score!
In "Le Roi Malgré Lui," played at the Opéra Comique in 1887, Chabrier
has attempted a different style. This pleasing work is especially
striking through the ingenuity of the orchestral treatment, which often
redeems the occasional _banalité_ of its themes. It is altogether a
delightful example of a modernised form of "opéra comique," and had
reached its third representation when the luckless "Opéra Comique"
Theatre was burnt to the ground. The orchestral rhapsody "España,"
constructed upon Spanish melodies, brimful of _entrain_ and scored with
a wonderful lightness of touch, has largely contributed to popularise
the name of Chabrier in the concert room. There is both fancy and
originality in the "Pièces Pittoresques" for piano, published by Messrs.
Enoch in the Litolff edition. Chabrier is said to be at work upon an
opera entitled "Briseis."
I must not pass over in silence composers such as Arthur Coquard, Mdlle.
Augusta Holmès, a lady of extraordinary talent, some say genius, Vidal,
Chapuis, Hue, Camille Benoit, Marty, Henri Duparc, and Gustave
Charpentier, one of the youngest and not the least gifted.
With these few lines concerning some of the most remarkable amongst
living French composers, I must take leave of my readers. That France
will yet produce works destined to keep up and further enhance her
prestige there can be no doubt. The essentially dramatic temperament of
her composers will continue to assert itself, and it is highly unlikely
that they will allow themselves to fall into the exaggerations of any
particular system.
If during the first half of the century the influence of Rossini has
been predominant, that of Wagner has been at least equally so during the
latter portion. In either case, French composers have taken as much from
each master as would amalgamate with their individuality without
abrogating that national element which is so recognisable in their
productions.
Truth of expression and dramatic characterisation are now universally
sought for by operatic composers. Whether these are attained through the
employment of one method or another matters but little. A composer is
no more bound to construct an opera upon a number of representative
themes than he is to reject all set forms. If his inspiration prompts
him to compose in one particular style, by all means let him do so,
provided he be sincere, and that his music bears the stamp of
conviction. Musicians are apt to be too exclusive in their tastes. It
should be possible to entertain preferences without necessarily
condemning everything that does not come within the radius of one's
ideas. The French school has, during this century, left its mark in an
undeniable manner upon operatic history, and the versatility of its
composers has over and over again been proved.
Casting a cursory glance backwards, do we not find, side by side with a
work of such severely classic proportions, noble aspirations, yet simple
construction as Méhul's "Joseph," bright specimens of the "opéra
comique," like Boïeldieu's "Dame Blanche," Hérold's "Pré aux Clercs,"
Auber's "Fra Diavolo," and "Domino Noir"? The Grand Opéra stage is
enriched by works so full of natural spontaneity as Auber's "Muette de
Portici," and of dramatic power as Halévy's "La Juive." Later on,
Berlioz revolutionises orchestral methods whilst raising the ideal
previously aimed at, Gounod adds an elegiac note and an intensity of
poetical feeling to the characteristics of his nation, and Bizet gives
evidence of a genius unhappily too soon cut short, and prepares the way
for the realistic operatic style now so much in vogue. "Faust,"
"Mignon," "Carmen," "Manon," "Samson et Dalila," and other operas
acquire a European fame, whilst the younger French composers are
impatiently waiting for the opportunity to vie with their elders.
In closing this little volume I must again express the consciousness I
entertain of the inadequacy of my efforts to deal with a subject that
would require several volumes to do it justice.
If, however, I have succeeded, in addition to furnishing particulars of
the lives of the most popular French composers, in drawing attention to
the works of some who are less well-known than they deserve to be, my
object will have been attained, and this little book will not have been
written in vain.
APPENDIX
LIST OF THE PRINCIPAL WORKS COMPOSED BY AMBROISE THOMAS, GOUNOD,
SAINT-SAËNS, MASSENET, REYER, AND BRUNEAU
AMBROISE THOMAS
_DRAMATIC WORKS_
1. "Le Double Échelle," opéra comique, 1 act. 1837.
2. "Le Perruquier de la Régence," op. com., 3 acts. 1838.
3. "La Gipsy," ballet, 2 acts. 1839.
(In collaboration with Benoist.)
4. "Le Panier fleuri," op. com., 1 act. 1839.
5. "Carline," op., 3 acts. 1840.
6. "Le Comte de Carmagnole," op., 2 acts. 1841.
7. "Le Guerillero," op., 2 acts. 1842.
8. "Angélique et Médor," op. com., 1 act. 1843.
9. "Mina," op. com., 3 acts. 1843.
10. "Betty," ballet, 2 acts. 1846.
11. "Le Caïd," op. com., 3 acts. 1849.
12. "Le Songe d'une Nuit d'Été," op. com., 3 acts. 1850.
13. "Raymond," op., 3 acts. 1851.
14. "La Tonelli," op., 2 acts. 1853.
15. "La Cour de Célimène," op. com., 2 acts. 1855.
16. "Psyché," op., 3 acts. 1857.
17. "Le Carnaval de Venise," op. com., 3 acts. 1857.
18. "Le Roman d'Elvire," op. com., 3 acts. 1860.
19. "Mignon," op., 3 acts. 1866.
20. "Hamlet," op., 5 acts. 1868.
21. "Gille et Gillotin," op. com., 1 act. 1874.
22. "Françoise de Rimini," op., 5 acts. 1882.
23. "La Tempête," ballet. 1889.
_SACRED WORKS_
Requiem.
Messe Solennelle.
Marche Religieuse.
3 Motets.
_MISCELLANEOUS WORKS_
"Hommage a Boïeldieu," cantata.
"Souvenirs d'Italie," 6 romances, pour chant et piano.
Quintet for strings.
Quartet for strings, op. 1.
Trio for piano, violin, or violoncello.
"Fantaisie," for piano or orchestra.
"Fantaisie sur un air écossais," for piano.
"Six caprices pour piano."
"Deux nocturnes."
"Rondeaux pour piano à quatre mains."
Choruses for male voices.
&c. &c.
CHARLES GOUNOD
_DRAMATIC WORKS_
1. "Sapho," op., 3 acts. 1851.
2. "La Nonne sanglante," op., 5 acts. 1854.
3. "Le Médecin Malgré Lui," op. com., 3 acts. 1858.
4. "Faust," op., 5 acts. 1859.
5. "Philémon et Baucis," op. com., 2 acts. 1860.
(Later enlarged to 3 acts.)
6. "La Colombe," op. com., 2 acts. 1860.
7. "La Reine de Saba," op., 5 acts. 1862.
8. "Mireille," op., 5 acts. 1864.
9. "Roméo et Juliette," op., 5 acts. 1867.
10. "Cinq Mars," op., 4 acts. 1877.
11. "Polyeucte," op., 5 acts. 1878.
12. "Le Tribut de Zamora," op., 4 acts. 1881.
"Georges Dandin," op. com. (unperformed).
_SACRED WORKS_
Several Masses, of which the best known is the "Messe de Ste.
Cécile," 1855. Amongst the others may be mentioned the "Messe aux
Orphéonistes," 1852; "Messe du Sacré Coeur," 1876; "Messe de
"Pâques,"1885, and "Messe à la Mémoire de Jeanne d'Arc," 1887.
"Tobie," oratorio. 1854.
"The Redemption." 1882.
"Mors et vita." 1885.
"Hymne à St. Augustin." 1885.
"De Profundis."
"Te Deum."
Also a quantity of motets, choruses, and other religious compositions.
_VOCAL WORKS_
"1er. Recueil de 20 Mélodies." (Includes the "Ave Maria" on the
first prelude of Bach; "Venise," "Sérénade," "Le Vallon," "Chanson
du Printemps," "Jésus de Nazareth," "Le Soir," etc.).
"2ème. Recueil de 20 Mélodies." (Includes "Marguerite," "Medjé,"
"Envoi de Fleurs," "Au Printemps," "Ce que je suis sans toi,"
etc.).
"3ème. Recueil de 20 Mélodies." (Includes "La Pâquerette," "Où
voulez-vous aller?" "Le Ciel a visité la Terre," several extracts
from operas, etc.).
"4ème. Recueil de 20 Mélodies." (Includes "Le Banc de Pierre,"
"Le Nom de Marie," several extracts from operas, etc.).
A volume of 15 duets.
The above are published by Messrs. Choudens.
During his sojourn in England Gounod composed a large number of
songs, the best known of which are: "Maid of Athens," "The Fountain
mingles with the River," "Oh, that we two were Maying!" "The
Worker," "There is a green Hill far away," and "Biondina," a
collection of 20 songs to Italian words.
_MISCELLANEOUS WORKS_
Music to the tragedy "Ulysse." 1852.
Music to "Les deux Reines." 1872.
Music to "Jeanne d'Arc." 1873.
Symphony No. 1, in D. 1854.
Symphony No. 2, in E flat. 1855.
Funeral March of a Marionette.
Saltarello.
Pianoforte music, Marches, etc.
CAMILLE SAINT-SAËNS
_DRAMATIC WORKS_
1. "La Princesse Jaune," op. com., 1 act. 1872.
2. "Le Timbre d'Argent," op., 3 acts. 1877.
3. "Samson et Dalila," Biblical op., 3 acts. 1877.
4. "Etienne Marcel," op., 4 acts. 1879.
5. "Henri VIII," op., 4 acts. 1881.
6. "Proserpine," op., 3 acts. 1887.
7. "Ascanio," op., 5 acts. 1890.
10. "Phryné," op. com., 2 acts. 1893.
_SACRED WORKS_
Messe Solennelle, op. 4.
"Tantum ergo," chorus, op. 5.
"Oratorio de Noël," op. 12.
Psalm xviii., "Coeli enarrant," op. 42.
"Le Déluge," poème biblique, op. 45.
"Les Soldats de Gédéon," double chorus, op. 46.
Messe de Requiem, op. 54.
_ORCHESTRAL WORKS_
Symphony in E flat, No. 1, op. 2.
Symphony in A minor, No. 2, op. 55.
Symphony in C minor, No. 3, op. 78.
Overture, "Spartacus."
"Le Rouet d'Omphale," symphonic poem, op. 31,
"Phaëton," symphonic poem, op. 39.
"Danse Macabre," symphonic poem, op. 40.
"La jeunesse d'Hercule," symphonic poem, op. 50.
"Orient et Occident," march for military band, op. 25.
"Marche héroïque," op. 34.
Suite (Prelude, Sarabande, Gavotte, Romance, Final), op. 49.
"Suite Algérienne," op. 60.
"Une Nuit à Lisbonne," barcarolle, op. 63.
"La Jota Aragonese," op. 64.
"Sarabande et Rigaudon," op. 93.
_CONCERTOS AND WORKS FOR A SOLO INSTRUMENT WITH ORCHESTRA._
Concerto for the piano in D, No. 1, op. 17.
Concerto for the piano in G minor, No. 2, op. 22.
Concerto for the piano in E flat, No. 3, op. 29.
Concerto for the piano in C minor, No. 4, op. 44.
Rhapsodie d'Auvergne, piano & orchestra, op. 73.
"Africa," fantasia, piano & orchestra, op. 89.
Introduction et Rondo Capriccioso, violin & orchestra, op. 28.
Concerto for violin, No. 1.
Concerto for violin in C, No. 2, op. 58.
Concerto for violin in B minor, No. 3, op. 61.
Romance in D flat for violin or flute, op. 37.
Romance in C for violin, op. 48.
"Morceau de Concert," for violin, op. 62.
"Havanaise," for violin, op. 83.
"Tarantelle," for flute & clarionet, op. 6.
Concerto for violoncello, op. 33.
"Allegro appassionato," for violoncello, op. 43.
_CHAMBER MUSIC_
Trio in F, piano, violin & violoncello, No. 1, op. 18.
Trio in E minor, piano, violin & violoncello, No. 2, op. 92.
Quartet in B flat, piano, violin, viola & violoncello, op. 41.
Septet for trumpet, two violins, viola, basso & piano, op. 65.
Suite for violoncello & piano, op. 16.
Sonata for violoncello & piano, op. 32.
Sonata in D minor, for violin & piano, op. 75.
_PIANO MUSIC_
Six Bagatelles, op. 3.
1ère Mazourka, G minor, op. 21.
Gavotte, C minor, op. 23.
2ème Mazourka, G minor, op. 24.
Six Études, op. 52.
Menuet et valse, op. 56.
3ème Mazourka, B minor, op. 66.
Album of six pieces, op. 72.
"Souvenir d'Italie," op. 80.
"Les Cloches du Soir," op. 85.
Valse Canariote, op. 88.
Suite, op. 90.
Variations on a theme of Beethoven, for two pianos, op. 35.
"Wedding-cake," "caprice-valse" for piano and strings, op. 76.
Polonaise for two pianos, op. 77.
"Feuillet d'Album," for piano duet, op. 81.
"Pas redoublé," piano duet, op. 86.
Scherzo for two pianos, op. 87.
_MISCELLANEOUS WORKS_
"La Lyre et la Harpe," ode, op. 57.
"Hymne à Victor Hugo," op. 69.
"La Fiancée du Timbalier," ballade, op. 82.
"Scène d'Horace," op. 10.
"3 Rhapsodies sur des Cantiques Bretons," for organ, op. 7.
"Bénédiction nuptiale," for organ, op. 9.
"Elévation ou Communion," for organ, op. 13.
"Romance," for horn & piano, op. 36.
"Berceuse," for piano & violin, op. 38.
Romance for violoncello & piano, op. 51.
2 Choruses, words by Victor Hugo, op. 53.
2 Choruses, op. 68.
2 Choruses for men's voices, op. 71.
Saltarelle, chorus, op. 74.
"Caprice" on Danish melodies, for flute.
Oboe, clarionet, and piano, op. 79.
"Les Guerriers," chorus for men's voices, op. 84.
"Chant Saphique," for violoncello & piano, op. 91.
Music to "Antigone."
Also a number of piano transcriptions of Bach, Beethoven, &c. &c.
The large majority of the compositions of Saint-Saëns are published by
Messrs A. Durand & Fils.
JULES MASSENET
_DRAMATIC WORKS_
1. "La Grand'tante," op. com., 1 act. 1867.
2. "Don César de Bazan," op. com., 3 acts. 1872.
3. "Le Roi de Lahore," op., 5 acts. 1877.
4. "Hérodiade," op. 1881.
5. "Manon," op., 4 acts. 1884.
6. "Le Cid," op., 4 acts. 1885.
7. "Esclarmonde," op. 1889.
8. "Le Mage," op., 5 acts. 1891.
9. "Werther," op. 1892.
10. "Le Carillon," ballet. 1892.
11. "Thaïs," op. (as yet unperformed).
_SACRED WORKS_
Requiem.
"Marie Magdeleine," drame sacré.
"Eve," mystère.
"La Vierge."
_VOCAL WORKS_
"Poème d'Avril."
"Poème d'Octobre."
"Poème pastoral."
"Poème du Souvenir."
"Poème d'Hiver."
"Chants intimes."
"Vingt Mélodies."
(These include "Elégie," "A Colombine," "Nuit d'Espagne," "Sérénade du
Passant," &c.) &c. &c.
_MISCELLANEOUS WORKS_
"Mlle. de Montpensier," cantata}
"David Rizzio," cantata } early works.
"Paix et Liberté," cantate officielle. 1867.
"Narcisse," idylle antique.
Music to Leconte de Lisle's tragedy, "Les Erinnyes."
Music to Victorien Sardou's piece, "Le Crocodile."
"Pompeia," four symphonic pieces for orchestra.
Concert Overture.
Overture to Racine's "Phèdre."
First Orchestral Suite.
Second " " "Scènes Hongroises."
Third " "
Fourth " " "Scènes Pittoresques."
Fifth " " "Scènes Dramatiques" (after Shakespeare).
Sixth " " "Scènes Alsaciennes."
Sarabande Espagnole, for small orchestra.
"Lamento" to the memory of Georges Bizet.
Introduction and variations for strings, flute, oboe,
clarionet, horn and bassoon.
"Scenes de Bal," for piano.
Improvisations, for piano.
"Le Roman d'Arlequin," pantomime enfantine.
&c. &c. &c.
ERNEST REYER
_PRINCIPAL WORKS_
"Le Sélam," ode symphonique. 1850.
"Maître Wolfram," op., 1 act. 1854.
"Sacountala," ballet. 1858.
"La Statue," op. com., 3 acts. 1861.
"Erostrate," op., 2 acts. 1862.
"Sigurd," op., 4 acts. 1884
"Salammbô," op., 5 acts. 1890.
ALFRED BRUNEAU
_DRAMATIC WORKS_
"Kérim," opera, 3 acts. 1887.
"Le Rêve," lyrical drama, 4 acts. 1891.
"L'Attaque du Moulin," lyrical drama, 4 acts. 1893.
_MISCELLANEOUS WORKS_
Ouverture héroïque.
"Léda," poème antique.
"Penthésilée," poème symphonique.
"La Belle au Bois dormant," poème symphonique.
"Lieds de France," album of songs.
_Printed by_ BALLANTYNE, HANSON & CO. _London & Edinburgh._
FOOTNOTES:
[1] Published by Messrs. Augener.
[2] Berlioz was born in 1803, Liszt in 1811, and Wagner in 1813.
[3] Lesueur, born 1763, died 1837; composer of "Les Bardes," and other
operas.
[4] Kalkbrenner, born 1788, died 1849; celebrated pianist.
[5] Barbereau, born 1799, died 1879.
[6] "Gesammelte Schriften."
[7] This admirable artist was later on destined to create Bizet's
"Carmen."
[8] The original of Meyerbeer's "Dinorah."
[9] Hanslick, Edward. Born 1825. The well-known critic and writer on
music. Strongly antagonistic to Wagner and his school. Author of "Das
Musikalische Schöne," etc.
[10] "Histoire de l'Instrumentation."
[11] Preface to the "Choix de Chorals de Bach, annotés par Ch. Gounod."
Published by Messrs. Choudens.
[12] Augier, Emile. Celebrated dramatist. Author of "L'Aventurière," "Le
Manage d'Olympe," "Lions et Renards," etc.
[13] Zimmermann, born 1775, died 1853.
[14] Scudo, P. Born 1806. Died 1864.
[15] The above details are taken from "The Lyrical Drama," by H.
Sutherland Edwards. (W. H. Allen & Co.)
[16] Lickl; b. 1769, d. 1843. Spohr; b. 1784, d. 1859. Seyfried; b.
1776, d. 1841. Bishop, Sir H.; b. 1786, d. 1855. Lindpaintner; b. 1791,
d. 1856. Mdlle. Bertin; b. 1805, d. 1877. Rietz, J.; b. 1812, d. 1877.
Gordigiani; b. 1806, d. 1860.
[17] Radziwill; b. 1775, d. 1833. Litolff, Henry; b. 1819, d. 1891.
Pierson, H.; b. 1815, d. 1873. Lassen, E.; b. 1830.
[18] Dalayrac; b. 1753, d. 1809. Steibelt; b. 1764, d. 1823. Zingarelli;
b. 1752, d. 1837. Vaccai; b. 1791, d. 1849. Bellini; b. 1802, d. 1835.
Marchetti; b. 1831. Marquis d'Ivry; b. 1829.
[19] B. 1811; d. 1870.
[20] Victor Sieg, b. 1837.
[21] "Lettres Intimes."
[22] Lefébure Wély, b. 1817; d. 1870.
[23] See last chapter.
[24] Since these lines were written, a solitary performance of "Samson
et Dalila," in concert form, has taken place at Covent Garden Theatre
during Mr. Farley Sinkins's season of Promenade Concerts, under somewhat
untoward circumstances.
[25] Massenet has introduced some of the music of this work into "Le Roi
de Lahore."
[26] Diaz; b. 1837.
[27] Published by Messrs. Augener.
[28] A special word of praise must here be accorded to Mons. Louis
Gallet, the author of the book, whose version of Zola's romance is
eminently poetical.
[29] Jules Pasdeloup, born 1819, died 1887.
[30] Lamoureux, b. 1834.
[31] Colonne, b. 1838.
End of Project Gutenberg's Masters of French Music, by Arthur Hervey