New-York tribune., 1902-03-18
MUSIC.

MME. CALVE AND FRENCH FOLKsONGs.
The concert given by Nine. Cave and two of her
associates in the Grau Opera Company in the ball
room of the Waldorf-Astoria last night
pretty and amiabIe function but somewhat dIsap-
pointing those in the audience who had expected
that it would be not only entertaining, but also
edifyinS along lines that becoming and
more interesting, that national tendencies
playing important part in musical culture.
Nomnally it was to he an exposition Of Chan
sons populares FRANCHISES in fact the real Chan
sons popuaries in the list OF songs sung formed
but fraction OF the programme. The songs sung
by NM. Salignac and GnIthert were popular songs
and ballads. but they were not folksougs. and the
true "chanson populairc' ts folksOnE-t hat Is
song made 10y the people, a natural, spontaneous
product not artistic creation. Songs with music
OF Monsigny, Gretry and Martini, and settings of
verses by DtrouIede. Renird. BtranFer and other
popular poets may reflect the spirit of the foksong
but they folksongs. Nine. Calves
selections nearer the mark. and Of them
the first TWO that she sauc-hit Il squarely in the
middle far the music was concerned. All the
requirements were met i'm the SorE called La
Chanson du roi Reuaud." me Of the most striking
in all the foiksong literature OF France The ballad
Is known in Scandinavia Scotland, Spain. Bohemia
and other countries and in France is generally
called simply "Renaud' 1t tells the tragic tale OF
a soldier who returns from the wars To die His
mother greets him with news OF the birth ~ q
son, but the taste OF death is in his mouth and
he dies without seeing either wife or child:
45't 4uand Jean @ Kenaqd de guerre ryin,.
sa mere la }@netra Ta'.S en S9s bsu13 mains
"Noict venir mon Ills Renaud."
Bo Bon{onr Jour- Renaud en-, 5onjouri NOR, hs.
NJ de de'pne nns fe115 es1 1eo9Hehe' Oh ~ @ dun nls
Je ne Saurais me rejouir
His death is concealed from his wife until she
goes 10 church and sees his tomb. Then she orders
three masses. at the first of which she makes
confession at the second takes communion and at
the third dies:
Ene Sc At dire tros messes-
Ia premiere elr se confesse.
la trOiseme, ellie cxpira.
It is essentially the story OF the Scottish ballad
CLERK Colyh" and one OF the most effective Of
all the French foiksones in respect OF poetry as
we'll music.
"Renaud" the most fascinating Of Nine
Calves offerings. though it's associate on the list
the "Chanson du Magau." contains clements that
piQued curiosity. Here the music alone belonged
in the catalogue OF yeritable Chansons populatres
The melody is very old one, associated for
centuries with a song called Les Metamorphoses
Mistral heard It sung by a workman OF his fathers
and was taken by II that he wrote the aubade
beginning, 20 MagalI, ma tant anado' in his Pro
venGal epic, "Mireio, in its metre, and mentioned
the fact. This at once gave it currency in France.
but no one seems yet TO have cared to reunite the
older texts with the music; the fascination OF Mis-
trails poetry is too great. In some mysterious
way not yet explained the first period Of the mel
ody got into the instrumental piece descriptive OF
hunt and storm in Berlioz's "Troyens Car
thage"
one feature of last nights concert came as a
complete surprise TO most OF the listeners The
melody which NJ. Gilbert gave as a "Chanson de
Clement Marot proved to be the air popularity
known HHnders Harmonious Blacksmith
The title which never had HHndel's sanction has
given rise to a number of fCtions and English ad-
mirers of the German musician used to be able 10
point out the identical smithy and its anvil which
were supposed to have inspired the tune. All fol-
de-rol. Of course
From historical point of view these hasty notes
have all but exhausted what interesting In
Nine Calves programme but there was much
that ngratiating In the songs and their per
formance. NJ Salignao finely dramatic in his
readings Of pieces like DerouIede's LIE CIairon'
and the older "Chanson du Capitaine" and NJ
Gilbert unctuous and good natured I'm
proper person he appears to be on the stage
Besides. he sang extremely well making even the
d'Amour" acceptable Nine. Cave was not in
good voice. and her dictiOn gestures and dramatic
delivery had make up for much faulty intona-
ton. The promised verbal notes the songs were
not forthcoming. but she prefaced the entertain
ment with a few remarks. most gracefully deliv-
cred into which she wOve apology for herself
and companions for not appearing in evening dress;
their luggage had not got through from Boston
The audience enthusiastic but numerous