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Modern French Composers: I. How They Are Encouraged Author(S): M Modern French Composers: I. How They Are Encouraged Author(s): M. D. Calvocoressi Source: The Musical Times, Vol. 62, No. 938 (Apr. 1, 1921), pp. 238-240 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/909393 Accessed: 04-11-2015 08:30 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 130.237.29.138 on Wed, 04 Nov 2015 08:30:43 UTC All use subject to JSTOR Terms and Conditions 238 THE MUSICAL TIMES-APRIL I 1921I Ex. 5. I , opinion of posterity,it is not unlikelythat most of us would be overwhelmed with surprise- - - as most of Kiss me and take my sol in exactly Beethoven's contemporaries . would have been had theyknown what his ultimate standingwould be. Even withoutattempting to deliverjudgment as to the comparativemerits of the modern French school, there is one statementthat can unhesi- tatinglybe made: of all countries that have constantlytaken an interestin music, none has rit. hoco oPP duringthe past hundred yearsor so made greater headway than France. Apart from the general causes that led to her keep - ing, Since I must progress during the 19th century and after-a synopsis of which > I will be found in the Auisical Times for September, 1913, P. 574 - we must, when jhoco iit. dim. attemptingto investigate the circumstances in which the French School pursued its evolution, take into account the fact that in France a systematicpolicy of encouragementto musicians Sa is tempo, pursued both by the State and by private initiative. Naturally enough, the methods by go, . now day is near. whichthat policy is carried out are not altogether flawless. A brief descriptionwill show how far theyare efficient,and how far theyfall short. To begin with, the would-be composer,instru- a temlo. mentalist or vocalist, receives his professional -- -A education free in the Conservatoiresof Paris, or of the provinces. Competitions- whose results are neithermore nor less infalliblethan those of In the thoughtfulpoise of the few chords used, othermusical contests-regulate his or her progress in the balance of tonality,and in therhythm of the in the ranks. The highestaward forcomposers, the melody extending without straining that of Prix de Rome, ensures several years of modest the verse,we findan epitome of Parry's art as a independence (enough for the composer to make song-writer. a good start),and carrieswith it the certaintythat an opera or othersimilar work from the composer's will some be under the best MODERN FRENCH COMPOSERS: pen day produced available conditionsat one of the State-subsidised I.-HOW THEY ARE ENCOURAGED theatres,the Opdra or the Opera-Comique. By M.-D. CALVOCORESSI These theatres,in exchange forthe grant-in-aid which they receive, are compelled, among other Which of the modern schools of music has things,to produce a determinednumber of works achieved the most and deserves best is a question by French composers,and speciallyby laureates of often asked, almost as often answered-and a the Conservatoire. More recently, the Gaite perfectlyfutile question: not only because com- Lyrique, subsidised by the City of Paris, has come parisons of the kind seldom serve any desirable to widen the fieldthus offered. purpose, but because time alone can supply the Here, again,the methodsof selection-methods true answer. Counting the works of a given strictlydetermined by officialregulations-are not school is useless unless one is able to weigh infallible. Indeed, the list of highclass worksby them. The Hungarian school, whose prominentFrench composers which remained neglected-if representativesare but two, Bela Bart6k and not permanently,at least for a time-by the Zoltan Kodaly (possibly three, if Nikolaus managersof the Paris theatres,is strikingenough. Radnai, whose works prior to 1914 were full of Saint-Saens' 'Samson and Delilah,' Chabrier's promise, has further made good), may be 'Gwendoline,' Vincent d'Indy's 'Fervaal' and considered no less importantin purportand in 'L'Etranger' were produced abroad before being potentialinfluence, and perhapseven more so, than introducedto the French public. On the other many a school whose representativesare more hand, the number of importantworks produced numerous. The contemporaryGerman composers under the same regulationsis not small. are many: but may be the small group headed The great defectof this system is that it con- by Arnold Sch6nberg will be found to carry stitutesan artificialand altogetherdisproportionate greatersignificance than all the remainder. Were stimulusto opera-writing.The catalogue of new we able to discover to-day how many of the works by French composers produced during contemporarycomposers of anycountry will endure, the past twenty-fiveyears or so is a most depressing and which of them will stand foremost in the document. It shows that a considerable number This content downloaded from 130.237.29.138 on Wed, 04 Nov 2015 08:30:43 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES-APRIL I 1921 239 of composers who had neitherthe slightestnatural regulationsmerely stipulated that the total time to inclinationnor genuine capacity for writingoperas be devoted in the programmesto the production have been induced to attempt the impossible; of new French works should be three hours per that their energies, which might have been annum. better employed in other directions, have been An interestingsidelight on that regulation is wasted,as well as the sums expended in producing provided by the deliberationsof the committeeof and in publishing their still-bornworks. Even the Concerts-Lamoureuxin 1908, whenthe question efficient opera-writerssuch as Saint-Saens or was debated as to whetherit would not be more Massenet have obviously overwrittenthemselves, advantageous to give up the grant-in-aid(then many a score from their pen faringno betterthan S5,ooo francs,or ?6oo) and be released fromthe the average effortof the average 'Prix de Rome.' obligation to produce the three hours of new Not long ago the composer of concert-musicmusic. The decision, however, was that the received very differenttreatment. No officialgrant-in-aid be retained. encouragementwas provided for him. The very Anotherfactor of importancewas the foundation education given at the State Conservatoires of substantial prizes (Prix de la Ville de Paris, converged exclusively towards opera-writing,and Prix Crescent,prizes awarded by the Societe des no provisions similar to those mentioned above Compositeursde Musique, &c.) for concert-music were made to ensure the performanceof instru- of various kinds, all of which prizes carry with mental workswritten either by laureates or others. them a public performanceof the successfulworks. But in proportionas the modern French school But far more vital was the evolution,from the late progressedthings began to improvein that respect. 'nineties onward, of musical education-both for The firstgreat step was taken by private initiative. professionalsand for the public. In 1871 a number of composers and music-lovers Here again the initiativewas taken by private founded the Socidtd Nationale de Musique, with enterprise. While the Conservatoire pursued its the object of performingnew works. This Society inadequate and obsolete course, three musicians has pursued its course withthe greatest steadiness -Vincent d'Indy, Charles Bordes, and Alexandre and efficiency. The annual subscription(2 5 francs Guilmant-decided to organize 'a school of before the war) entitleseach memberto free seats music fit to meet the requirements of the at all the concerts; the average number of time.' They speedily carried out their purpose, concertsgiven each year is about eightof chamber and in I894 the Schola Cantorum was opened music and one or two of orchestralmusic. The for the double purpose of providing courses services rendered by the Society to the French of education and of giving concerts devoted to school and to others are enormous. Together works of all schools and periods, but chiefly with its younger rival, the Societe Musicale to old masterpiecesoverlooked by other concert Independante, it remains the centre where the institutions. Works by Monteverdi,Marc-Antoine moderncourse of musical art can best be followed. Charpentier,Bach, and Rameau, were by the That both the Societe Nationale and the Socie6teactivities of the Schola Cantorum added to the Independante are reallylive organizationsis shown usual pabulum provided forParisian concert-goers. not only by their programmes,but by interestingFor the students, Vincent d'Indy devised a initiatives taken by them. For instance, the method of teaching, partly historical and partly Societ6 Nationale provides, for the benefit of analytical, of which his published 'Treatise of inexperienced composers, orchestral readings of Composition' gives a full synopsis. The influ- works judged too crude for public performance.ence, direct or indirect,of the Schola Cantorum The Societd
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