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[Footnote 260: At any rate, certain forms of music--the highest. See the discussions at the Chambre des Deputes on the budget of the Beaux-Arts in February, 1906; and the speeches of MM. Theodore Denis, Beauquier, and Dujardin-Beaumetz, on Religious Music, the Niedermeyer School, and the civic value of the organ.]
It is the historian's duty to point out the dangers of the present hour, and to remind the French musicians who have been satisfied with their first victory that the future is anything but sure, and that we must never disarm while we have a common enemy before us, an enemy especially dangerous in a democracy--mediocrity.
The road that stretches before us is long and difficult. But if we turn our heads and look back over the way we have come we may take heart.
Which of us does not feel a little glow of pride at the thought of what has been done in the last thirty years? Here is a town where, before 1870, music had fallen to the most miserable depths, which to-day teems with concerts and schools of music--a town where one of the first symphonic schools in Europe has sprung from nothing, a town where an enthusiastic concert-going public has been formed, possessing among its members some great critics with broad interests and a fine, free spirit--all this is the pride of France. And we have, too, a little band of musicians; among them, in the first rank, that great painter of dreams, Claude Debussy; that master of constructive art, Dukas; that impa.s.sioned thinker, Alberic Magnard; that ironic poet, Ravel; and those delicate and finished writers, Albert Roussel and Deodat de Severac; without mention of the younger musicians who are in the vanguard of their art. And all this poetic force, though not the most vigorous, is the most original in Europe to-day. Whatever gaps one may find in our musical organisation, still so new, whatever results this movement may lead to, it is impossible not to admire a people whom defeat has aroused, and a generation that has accomplished the magnificent work of reviving the nation's music with such untiring perseverance and such steadfast faith. The names of Camille Saint-Saens, Cesar Franck, Charles Bordes, and Vincent d'Indy, will remain a.s.sociated before all others with this work of national regeneration, where so much talent and so much devotion, from the leaders of orchestras and celebrated composers down to that obscure body of artists and music-lovers, have joined forces in the fight against indifference and routine. They have the right to be proud of their work. But for ourselves, let us waste no time in thinking about it. Our hopes are great. Let us justify them.
WILLIAM BRENDON AND SON, LTD PRINTERS, PLYMOUTH
THE MUSICIAN'S BOOKSHELF.
A NEW SERIES.
EDITED BY CLAUDE LANDI, L.R.A.M., A.R.C.M.
MUSICIANS OF TO-DAY. By ROMAIN ROLLAND, Author of "Jean-Christophe."
Translated by MARY BLAIKLOCK.
PRACTICAL SINGING. By CLIFTON COOKE and CLAUDE LANDI.
THE UNREST IN THE MUSIC WORLD. By SYDNEY BLAKISTON.
THE SONATA IN MUSIC. By A. EAGLEFIELD HULL, Mus. Doc.
THE SYMPHONY IN MUSIC. By the same.
ON LISTENING TO MUSIC. By E. MARKHAM LEE, M.A., Mus. Doc.
COUNTERPOINT. By G.G. BERNARDI. Translated by C. LANDI.
OPERA. By HARRY BURGESS.
_Other Volumes in preparation_.
