Though Fauré’s songs do not speak with the authority of genius they are extraordinarily fine in their deftness of handling, in their delicacy, in their unfailing sense of artistic fitness. Fauré, among the first of his generation, treated the accompaniment with respect. His piano parts are filled with interesting voices and gently stimulating movement. Each song has its individuality and style. The melody is sometimes truly eloquent, but too often partakes of the colorless nature of contemporary music. In the later songs the voice part is apt to be without much charm or even existence of its own, being only accommodated to the accompaniment. On the whole, though the absolute value of his songs would not justify the relative space we have here devoted to them, they reveal a sensitive and thorough craftsmanship which French music had too long been without. II Emmanuel Chabrier (1841-1894) was, with Fauré, one of the great forerunners of the modern French tendency. His service was chiefly performed in the field of orchestral coloring, but his songs show the influences of the new technique and are of much value in themselves. Chabrier was a more vital man than Fauré. His abundant animal spirits can be felt in all his music. His musical ideas were not always of much value, but the creative energy of the man is felt always. He was a great practical joker and has written some of the most delightful humorous songs we have. Three of his animal songs in particular are worth study. ‘The Grasshoppers’ makes continual use of the interval of the diminished second, lightly played in arpeggio chords on the piano, to suggest the chirping and rattling which we hear on a summer night. The melody, too, is extremely graceful. ‘The Pigs’ Pastoral’ suggests the animals’ grunts and offers even more dignified points of technical interest. The ‘Villanelle of the Little Ducks’ is a masterpiece. The charming words by Rosemonde Gérard (later the wife of the poet Rostand) are caught with absolute fidelity by the composer. The dignity, the absolute soldier-like seriousness of the little birds is inimitably suggested and the clear and richly varied accompaniment shows a musicianship of a high order. The simple ‘Romance of the Star’ reveals the genuine lyric ability of the composer and his colorful romanticism is shown in the ‘Song for Jeanne’ and ‘The Happy Island.’ Chabrier’s songs show admirable energy and resourcefulness. As a practical joker the man can hardly be surpassed.