He stands
for something exceptional in French music, something which was almost
unique until just lately: that is, a great classical spirit and a fine
breadth of musical culture--German culture, we must say, since the
foundation of all modern art rests on the German classics. French music
of the nineteenth century is rich in clever artists, imaginative writers
of melody, and skilful dramatists; but it is poor in true musicians, and
in good and solid workmanship. Apart from two or three splendid
exceptions, our composers have too much the character of gifted amateurs
who compose music as a pastime, and regard it, not as a special form of
thought, but as a sort of dress for literary ideas. Our musical
education is superficial: it may be got for a few years, in a formal
way, at a Conservatoire, but it is not within reach of all; the child
does not breathe music as, in a way, he breathes the atmosphere of
literature and oratory; and although nearly everyone in France has an
instinctive feeling for beautiful writing, only a very few people care
for beautiful music. From this arise the common faults and failings in
our music. It has remained a luxurious art; it has not become, like
German music, the poetical expression of the people's thought.
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