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Updated: May 27, 2025
The great thing is that the music has really got hold of them, and that now one may hear the provincial Écoles Normales performing choruses from Fidelio, The Messiah, Schumann's Faust, or Bach cantatas. The honour of this remarkable achievement, which no one could have believed possible twenty years ago, belongs almost entirely to M. Maurice Buchor.
He was also early a friend of old Anton Bruckner, whose music we do not know in France, neither his eight symphonies, nor his Te Deum, nor his masses, nor his cantatas, nor anything else of his fertile work. Bruckner had a sweet and modest character, and an endearing, if rather childish, personality.
Then came Bach's cantatas; and their performance, given by M. Bordes in the Salle d'Harcourt, attracted large audiences and started the cult of this master in Paris. Then they sang Rameau and Gluck; and, finally, all ancient music, sacred or secular, was approved.
He has written excellent music in all styles the Grecian style, and that of the sixteenth, seventeenth, and eighteenth centuries. His compositions are of every kind: masses, grand operas, light operas, cantatas, symphonies, symphonic poems; music for the orchestra, the organ, the piano, the voice, and chamber music.
Bach's great compositions include his "Preludes and Fugues" for the organ, works so difficult and elaborate as perhaps to be above the average comprehension, but sources of delight and instruction to all musicians; the "Matthäus Passion," for two choruses and two orchestras, one of the masterpieces in music, which was not produced till a century after it was written; the "Oratorio of the Nativity of Jesus Christ;" and a very large number of masses, anthems, cantatas, chorals, hymns, etc.
Ethel Mary Boyce, winner of various prizes, has composed "Young Lochinvar," "The Sands of Corriemie," and other cantatas, as well as a March in E for orchestra. Miss Heale, another London aspirant, is credited with "Epithalamion," "The Water Sprite," and other choral works.
Yet one may be a great artist without doing that. There was nothing revolutionary about Sebastian Bach with his two hundred and fifty cantatas, which were performed as fast as they were written and which were constantly in demand for important occasions.
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