From Grieg to Brahms: Studies of Some Modern Composers and Their ArtMason, Daniel Gregory
History
From Grieg to Brahms: Studies of Some Modern Composers and Their Art
Mason, Daniel Gregory
Composers -- Biography; Music -- 19th century -- History and criticism
It would, however, be a mistake to suppose that Franck's fellow-men
noticed nothing but his short trousers, or that in his high artistic
effort he was entirely without sympathy. Few men have been more
fortunate in their friends. The love and veneration of his many pupils,
and of such men as Chabrier, Pierné, and Fauré, made an atmosphere
in which his heart expanded and his ambition grew. One of this group
of admirers tells how they would surround him on his return to Paris
in the autumn, to ask what he had done, what he had to show. «Vous
verrez, repondait-il»--the French alone can render the endearing vanity
and _naïveté_ of his reply--«vous verrez, repondait-il en prenant
un air mysterieux, vous verrez; je crois que vous serez content....
J'ai beaucoup travaillé et bien travaillé.» It was a similarly frank
and guileless self-satisfaction that made him apparently unaware of
the coldness of his audiences, who were generally puzzled or bored.
Happy, as M. d'Indy records, in having given his friends the pleasure
of hearing him play his own compositions, in spite of the scanty
applause he never failed to bow profoundly. Thus untroubled by the
indifference of the crowd, surrounded by a few men who gave him their
warm and discriminating admiration, and inspired by a genius peculiarly
exalted and disinterested, bent on beauty alone, and superior to petty
jealousies, César Franck lived his quiet, fruitful, and happy life. He
died at Paris in 1890. The last anecdote we have of him tells of his
finding strength, four days before his death, to praise the «Samson et
Dalila» of Saint-Saëns, then running at the Théâtre Lyrique. «I see him
yet,» says M. Arthur Coquard, «turning towards me his poor suffering
face to say vivaciously and even joyfully, in the vibrant tones that
his friends know, 'très beau, très beau.'» The words, expressing that
pure love of art which animated his whole career, lodge in the mind
of one who studies it, together with those other words of his, which
none ever had a better right to use, «J'ai beaucoup travaillé et bien
travaillé.»
Public-domain text, read in full here on John Shaqi.
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