ianoforte composition. Some of his pianoforte pieces are, to be
sure, of a light, _salon_ type; yet in many we find a true, poetic
sentiment and they are all written in a thoroughly pianistic idiom. In
fact, prior to Debussy Faure was the only Frenchman worthy to compare
in mastery of pianoforte style with Chopin, Schumann and Liszt. As a
song composer Faure ranks with the highest in modern times. The exotic
charm and finesse of workmanship in such songs as _Clair de Lune_,
_Les Roses d'Ispahan_ cannot be denied and the instrumental part is
always worthy of the composer's genius for pianoforte style, _e.g._,
the accompaniment to _Nell_ being a model in its free polyphony and
richness of effect. Faure 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 Faure 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 Faure 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 Cesar 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, especially
_L'invitation au Voyage_, _Extase_ and _Phydile_. This last is
considered by the writer the most exquisite song in modern literature;
its melody, its modulations, its accompaniment 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 unfortunate
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 Symphony in B-flat major, op. 20--there
i