Debussy.—The startling harmonic innovations of Debussy have exercised a strong influence upon the music and the songs not only of France but of Europe, a fuller understanding of his work hav ing proved that what was once thought incoherent or experimen tary in his scheme is perfectly logical and of undeniable beauty. He discovered a pathway which had not been trodden before, and explored it so thoroughly that little is left there within the limits he prescribed for himself, for other seekers. The delicacy and finish of his work, in which the smallest touch tells, is remark able, as well as the skill with which the notes carrying the words are interwoven into the fabric of the music. The method is Wag ner's but the style is Debussy's who makes it seem that it was made for the French language and no other. Only in the early songs and those in L'enfant prodigue is his vocal line melodic. Debussy is certainly the greatest of the impressionists.
The following selection from his 48 songs exhibits the extent of his range and the variety of his style :—"Je tremble en voyant son visage," "La flute de Pan," "Recueillement," "Clair de lune," "Fantoches," the songs in Ariettes oubliees, the three Villon Bal lades and the terribly powerful "Noel des enfants qui n'ont plus de maison," composed in 1915. Others will be found tri the ex cellent selection Douze chants (Durand Fils, Paris). Those who wish to understand what is meant by Debussy's whole-tone scale, "atonality" and "modern music" will find all clearly explained in Dr. Walker's article on more fully in Dr. Dyson's article "Harmony" in Grove's Dictionary of Music, 1927-28, and in his book The New Music (Oxf. Univ. Press, Ravel (1875-1937) is a master of clear and effective delineation. What he aimed at he achieved. Debussy suggests, Ravel defines, but his definitions are difficult both to play and to sing. His most characteristic songs are the sets Scheherazade and the Histoires naturelles, the latter a series of brilliant pictures, full of elaborate and effective detail; of these "Le Paon," "Le Cygne" and "Le Martin-pecheur" are the best known.
Italy.—Italy, absorbed in opera, has not contributed much that is likely to have permanent value to 19th century song, but the finished work of Sgambati (1843-1914) is worth knowing. He composed more than 4o songs, of which Four Melodies, Op. 35, and the setting of the old Italian folk-song "Separazione" may be cited as characteristic. Respighi (1879-1936) studied with Rimsky-Korsakov and Max Bruch, but his songs are individual— but not eccentric. Among them are "Nebbie," five charming "Canti all' antica," and the dainty "Stornellatrice." His pupil Piz zetti (1880– ) in "Inpastori," with its fine modal character, effective declamation and cross rhythms has composed a remark able song full of interest for both singer and pianist. Malipiero's
daringly modern songs fall under the category of those which are not included in this article. In Spain the "Three melodies" and particularly the very striking arrangements of seven "Canciones populares" of Manuel de Falla (1876– ) deserve special tion: as also a collection of 14 old Spanish airs of the 17th and 18th centuries arranged elaborately and with singular insight by Joachin Nin. The composer includes in each volume a valuable introduction--in French as well as Spanish.
Russia.—Russian song deserves more attention than can be given to it here. Since Glinka (1804-1857) released it from Italian influences, and by impregnating it with the spirit and the idiom of the folk-song, made it, at least in his own work, na tional, it has steadily increased in importance. There is a fairly large store of good songs by Russian musicians, but they are only in part Russian, their general conception and, to a large extent, their technique being derived from the masters of the German Lied; they represent a hybrid art, which, though full of interest, pales beside the entirely Russian work of one man of genius, Moussorgsky (1835-81). Through him, in his songs as much as in his operas, it seems as if the very heart of the strange Russian people were laid bare. His style is sometimes undisciplined, his realistic painting sometimes crude—natural in an art where colour counts for more than line—but there the pictures stand, throbbing with life, memorable. Many a village tragedy is the subject of his song; Death himself appears, terrible but kind; but Moussorgsky can also sing, no one more tenderly, of the cradle and the nursery; there is humour and satire too. Of the romantic sentiment, char acteristic of Germany, there is no trace. In the music of Europe to-day, he has proved a potent influence, as having opened the doors of song to admit subjects hitherto thought impossible or unsuitable to set. Of his 4o or 5o songs most are definitely melodi ous; in others the voice part approximates to the rise and fall of the voice in speech; in all strong rhythm is an outstanding feature. In his last years he composed the four Dances of Death and the cycle of six songs No Sun, which rank among the most intensely moving songs ever written, tragically sad, but full of beauty. Ex amples : "Jeremouschka's Cradle Song," "Little Star, where art thou?" "Savishna" (story of the village idiot), "Gathering Mush rooms" and "Hopak" (both on the subject of "La Maumariee" of French folk-song), "Serenade" and "Trepak" (from the Dances of Death), The Nursery (seven songs about children). Moussorgsky was one of the four whom Balakirev (1837-1916) drew together to form with himself a "nationalist" band of com posers. The others were Borodine (1834-87), Cesar Cui 1918) and Rimsky-Korsakov (1844-1908).