CHAPTER XVII

CESAR FRANCK

Before an appreciation of the significant works and influence of Cesar
Franck can be gained, it is necessary to have a broad historical
perspective of what had been the trend and the limitations of French
music prior to his career. Since the time of Couperin and Rameau,
musical composition in France had been devoted almost exclusively to
opera--with its two types of grand opera and opera-comique--and in
this field there had been some French musicians of real, though
possibly rather slight, genius: Philidor, Mehul, Gretry, Boieldieu,
Herold and Auber. One searches in vain through French literature for
great symphonies, string-quartets, violin sonatas or pianoforte
compositions of significance. Berlioz, as we have seen, had composed a
number of orchestral works; but, from the standpoint of absolute
music, even these rather beg the question as they are so extremely
programmistic, dramatic or even theatric. This one-sided development
of French music was chiefly caused by the people's innate fondness for
the drama, and by the national genius for acting, mimicry and dancing.

Prior to the advent of Franck there were two important pioneers in the
broadening tendency which finally became noticeable, Saint-Saens and
Lalo. For great assimilative power, for versatility, for clarity of
expression and a finish and finesse peculiarly French, Camille
Saint-Saens (1835-still living) is certainly one of the most
remarkable musicians of the nineteenth century. His works are
numerous, always "well-made" and, though lacking in emotional depth,
by no means without charm and grace. They comprise ensemble works:
trios, etc., several concertos and symphonies and four symphonic
poems. Of these, the third concerto for pianoforte, with its Bach-like
introduction, the third violin concerto, the two symphonic poems, _Le
Rouet d'Omphale_ and _Phaeton_ and, in particular, the third symphony
in C minor, still hold their own. Whatever Saint-Saens has to say is
well said; and if the French have modified their previous opinion that
the only vehicle for musical expression was the opera, it is largely
through the influence of his compositions. This C minor symphony,
first performed in London in 1886, shares with Lalo's symphony in G
minor (1887) the claim to be, in all French literature, the first
instrumental work of large scope free from programmistic tendencies.
Saint-Saens[271] and Lalo fairly popularized the Sonata f