[32] Musiciens d'aujourd'hui; Romain Rolland.

[33] Harmonie et Melodie. C. Saint-Saëns.

[34] César Franck, by Vincent d'Indy.

[35] Inquest on the influence of Germany, especially of Wagner, on French music, January, 1903.

[36] "Revue Politique et Littéraire" (Revue Bleue), March 26, 1904.

[37] Revue Musicale S. I. M., February 15, 1913.

[38] Cours de Composition Musicale, Book I, page 123.

[39] Cours, I, 27.

[40] See the present writer's paper on "The Tyranny of the Bar-line," New Music Review, December, 1909.

[41] Cours, I, 217.

[42] Cours, I, 40.

[43] Compare what is said of Debussy, for example, above, page 143.

[44] Cours, I, 91 and 116.

[45] Cours, Book I, pp. 126 and 132; Book II, Part I, p. 245.

[46] Cours, Book II, Part I, pp. 454, 452.

[47] Cours, II, I, 165.

[48] Compare, also, the theme of the Piano Sonata, in E minor, beginning with the note B, with the same theme altered, "Mutatum," in E major, beginning with G sharp.

[49] See for instance the "Poème des Montagnes," opus 15, for piano, and the Symphony on a Mountain Theme, opus 25, for piano and orchestra.

[50] Note the progress from the dark key of C minor to the bright B major in "Dawn," reversed in "Evening," as another instance of the expressive use of modulation.

[51] The references are to the pocket edition of the score, published by Durand.

[52] Cours de composition musicale, Book II, Part I, pp. 241-242.

[53] "Le Bon Sens," Revue Musicale, S. I. M., November, 1912.

[54] Cours, Book I, Part II, pp. 406, 411, 419.

[55] Tribune de Saint-Gervais, March, 1899.

[56] "Life of Franck," French edition, page 40.

[57] Cours, Book II, Part I, 487.

[58] Revue Musicale, December 1, 1906, quoted.