Among the pioneers of modern French music César Franck (1823-1890) holds the highest place of all. His profound musicianship, his open-mindedness, his strain of religious mysticism in the service of his high personal integrity, produced results than which French music can show nothing more admirable. A large number of the most eminent modern French composers were his pupils and their daring (though various) individualities show that his teaching was really a stimulation and nourishment of artistic power, not an imparting of rules. His songs (at least the later ones, which are all that interest us here) are few, but among them are several which are artistically flawless. The melody of ‘The Marriage of the Roses’[32] has a grace and a cogency which utterly charm the hearer. ‘The Bells of Evening’ and ‘The Procession’ have become classics in modern song literature. Technically these songs are not radical. But they make effective use of the new harmonic method, in Franck’s own peculiar and convincing manner. Four of Franck’s pupils have done fine service in the cause of modern French song. Guillaume Lekeu (1870-1894) was an extremely talented man who would certainly have been one of the greatest of French composers had he lived to artistic maturity. His fine song, ‘On a Tomb,’ proves his creative power and his technical control. Henri Duparc (born 1848) was by birth one of the older generation and his use of the modern harmonies is conservative. Of his numerous songs some are marked by much grace and sensuous beauty, notably ‘Invitation to the Journey,’ the _Chanson triste_, and ‘Ecstasy,’ the last one of the finest songs of the period. Ernest Chausson (1855-1894) showed remarkable talents--energy, individuality, command over romantic expression. In his incomplete career he produced many songs, some of rare charm. But most important of the Franck pupils is Vincent d’Indy, probably the most vigorous creative power in modern French music. In him the intellectual quality dominates all the others. To many his music quite lacks charm. The gentler qualities are absent. There is no obvious appeal to the senses. But his music is extremely stimulating to the musician and if well presented can plead for itself to the general public. His songs are few, but are evidently worked out with great care. Best known is the ‘Sea Song,’ which has a large rhythmic sweep admirably suggesting the swell of the ocean. His arrangements entitled _Chansons Populaires du Vivarais_, though applied to the simplest of musical materials, reveal his intellectual quality of musicianship. A list of his other songs (nearly complete) includes: ‘Thecla’s Complaint,’ ‘Madrigal,’ _L’Amour de la crane_, ‘The First Tooth,’ ‘Mirage,’ and ‘The Eyes of the Beloved One.’ All these songs are fine and musicianly. But their appeal is limited, for many will find them lacking charm and sensuous beauty. III