s since, and which are now
nowhere to be found, although once having excited quite a sensation. The
French cannot certainly be considered as a musical nation, yet many of
their airs are full of life, and quite exhilarating, whilst others have
a degree of pathos which touches the heart; still none of their music
has the nerve, the depth, the sterling solidity of the German, nor the
elegance nor grace of the Italian. Yet some composers they have whose
works will have more than an ephemeral fame, amongst whom may be cited
Aubert, whose music is not only admired in France but throughout all
Europe; another author of extreme merit is Onslow, whose productions are
not so voluminous or so extensively known as those of Aubert, but
possessing that intrinsic worth which will increase in estimation as it
descends to posterity: the compositions of Halevy and Berlioz have also
some degree of merit. But amongst the numerous productions which have
emanated from the French composers for the last fifty years, one there
is that for soul and grandeur stands unrivalled, and that is the
Marseilles Hymn, or March, by Rouget de Lille; perhaps there exists no
air so calculated to inspire martial ardour, and there is no doubt but
that it had considerable effect upon the enthusiastic republicans in
exciting them to rush into what they considered the struggle for liberty
and honour; it appears to have been an inspiration which must have
suddenly lighted upon the composer, as none of his works either before
or since ever created any particular sensation. Although of far distant
date, the old air of Henry IV must certainly be placed amongst the gems
of French musical composition; there is a peculiar wildness in it, which
gives it a tone of romance, and reminds one of very olden time, there is
in it an originality, a something unlike anything else; the Breton and
Welsh airs alone resemble it in some degree, and in both those countries
they pretend that they are of Celtic origin. Music is of very ancient
origin in France: in 554 profane singing was forbidden on holy days; in
757, King Pepin received a present of an organ, from Constantin VI; a
tremendous quarrel occurred between the Roman and Gallic musicians, in
the time of Charlemagne, and two professors are cited, named Benedict
and Theodore, who were pupils of St. Gregory; but the most ancient
melodies extant, and which are perfectly well authenticated, are the
songs of the Troubadours of Provence,