CHABRIER'S representative work "Gwendoline" may be rightfully looked upon as the most advanced exposition of existing Franco-German music dramas. Much of his orchestration suggests a progressive yet peculiar phase of Wagnerism enveloped by a tinge of melancholy and softened by the delicate touch peculiar to the French.
MASSENET appears at his best as a dramatic writer. His endowments embrace highly developed feeling for sensuous charm, a style distinctly poetic, and a manner of orchestration both rich and varied.
French art during this era has been further assisted by the sterling achievements of many secondary composers such as Dubois and Paladhile; by the orchestral expounders: Gevaërt, Lavoix; by the literary champions: Vidal, Benoit, Joncières; by the organist-composers: Guilmant, Widor; by the representatives of the fair sex: Augusta Holmès, Cécile Chaminade; and by the most recent aspirants to fame: Charpentier and Debussy.
The attitude of the French public toward orchestral concert music has undergone a radical change in the last fifty years. During the first half of the nineteenth century Habeneck reorganized and developed the "Concerts du Conservatoire." This was followed by the establishment of Pasdeloup's "Société des jeunes artistes" and its offspring, the "Concerts populaires." The persistent propagation of both indigenous and exotic works of art is largely due to Pasdeloup's initiative. In recent years, concert performances in France have been brought to a high state of proficiency through the untiring efforts of Lamoureux and Colonne.
(2) =Italy.= For half a century Italy has now been represented by but one luminary of the first magnitude--VERDI. His earlier scoring is conventional and commonplace. The orchestration depends largely upon violent and frequently illogical contrasts. Gradually, however, Verdi acquired increased regard for judicious and more independent instrumentation, and that more particularly in the deployment of the wood-wind. An extreme advance is discovered in his Requiem and later operas. Here the functions of the orchestra become more important, and the tonal colors acquire a richer and warmer hue.
Verdi's followers have done practically nothing for the cause of orchestration other than to branch off into infrequented by-ways that have necessitated corresponding orchestral treatment.