Vincent D’Indy

Paul Marie Théodore Vincent d'Indy (; 27 March 18512 December 1931) was a French composer and teacher. His influence as a teacher, in particular, was considerable. He was a co-founder of the Schola Cantorum de Paris and also taught at the Paris Conservatoire. His students included Albéric Magnard, Albert Roussel, Arthur Honegger, Darius Milhaud, and Erik Satie, as well as Cole Porter.

D'Indy studied under composer César Franck, and was strongly influenced by Franck's admiration for German music. At a time when nationalist feelings were high in both countries (circa the Franco-Prussian War of 1871), this brought Franck into conflict with other musicians who wished to separate French music from German influence.

Life

Paul Marie Théodore Vincent d'Indy was born in Paris into an aristocratic family of royalist and Catholic persuasion. He had piano lessons from an early age from his paternal grandmother, who passed him on to Antoine François Marmontel and Louis Diémer."Indy, Vincent d'",''Grove's Dictionary of Music and Musicians'', 5th edition, 1954, volume V, Eric Blom ed.

From the age of 14 d'Indy studied harmony with Albert Lavignac. When he was 16 an uncle introduced him to Berlioz's treatise on orchestration, which inspired him to become a composer."M. Vincent d'Indy", ''The Times'', 4 December 1931, p. 16 He wrote a piano quartet which he sent to César Franck, who was the teacher of a friend. Franck recognised his talent and recommended that d'Indy pursue a career as a composer.

At the age of 19, during the Franco-Prussian War, d'Indy enlisted in the National Guard, but returned to musical life as soon as the hostilities were over. He entered Franck's organ class at the Conservatoire de Paris in 1871 remaining there until 1875, when he joined the percussion section of the orchestra at the Châtelet Theatre to gain practical experience. He also served as chorus-master to the Concerts Colonne.

The first of his works he heard performed was a ''Symphonie italienne'', at an orchestral rehearsal under Jules Pasdeloup; the work was admired by Georges Bizet and Jules Massenet, with whom he had already become acquainted.

During the summer of 1873 he visited Germany, where he met Franz Liszt and Johannes Brahms. On 25 January 1874, his overture ''Les Piccolomini'' was performed at a Pasdeloup concert, sandwiched between works by Bach and Beethoven. Around this time he married Isabelle de Pampelonne, one of his cousins. In 1875 his symphony dedicated to János Hunyadi was performed. That same year he played a minor role – the prompter – at the premiere of Bizet's opera ''Carmen''. In 1876 he was present at the first production of Richard Wagner's ''Ring'' cycle at Bayreuth. This made a great impression on him and he became a fervent Wagnerian.

In 1878 d'Indy's symphonic ballad ''La Forêt enchantée'' was performed. In 1882 he heard Wagner's ''Parsifal''. In 1883 his choral work ''Le Chant de la cloche'' appeared. In 1884 his symphonic poem ''Saugefleurie'' was premiered. His piano suite ("symphonic poem for piano") called ''Poème des montagnes'' came from around this time. In 1887 appeared his Suite in D for trumpet, 2 flutes and string quartet. That same year he was involved in Lamoureux's production of Wagner's ''Lohengrin'' as choirmaster. His music drama ''Fervaal'' occupied him between 1889 and 1895.

Inspired by his studies with Franck and yet dissatisfied with the standard of teaching at the Conservatoire, d'Indy, together with Charles Bordes and Alexandre Guilmant, founded the Schola Cantorum de Paris in 1894. D'Indy taught there until his death, becoming principal in 1904. Of the teaching at the Schola Cantorum, ''The Oxford Companion to Music'' says, "A solid grounding in technique was encouraged, rather than originality", and comments that few graduates could stand comparison with the best Conservatoire students. D'Indy later taught at the Conservatoire and privately, while retaining his post at the Schola Cantorum.

Among d'Indy's renowned pupils were Albéric Magnard, Albert Roussel, Joseph Canteloube (who later wrote d'Indy's biography), Celia Torra, Arthur Honegger and Darius Milhaud. Two atypical students were Cole Porter, who signed up for a two-year course at the Schola, but left after a few months, and Erik Satie, who studied there for three years and later wrote, "Why on earth had I gone to d'Indy? The things I had written before were so full of charm. And now? What nonsense! What dullness!" Nonetheless, according to ''Grove's Dictionary of Music and Musicians'', d'Indy's influence as a teacher was "enormous and wide-ranging, with benefits for French music far outweighing the charges of dogmatism and political intolerance".

D'Indy played an important part in the history of the Société nationale de musique, of which his teacher, Franck, had been a founding member in 1871.Cochard, Alain
"150ème anniversaire de la naissance de la Société nationale de musique"
Concertclassic.com. Retrieved 13 May 2021 Like Franck, d'Indy revered German music, and he resented the society's exclusion of non-French music and composers. He became the society's joint secretary in 1885, and succeeded in overturning its French-only rule the following year. The founders of the society, Romain Bussine and Camille Saint-Saëns resigned in protest. Franck refused the formal title of president of the society, but when he died in 1890, d'Indy took the post. His regime, however, alienated a younger generation of French composers, who, led by Maurice Ravel, founded the breakaway Société musicale indépendante in 1910, which attracted leading young composers from France and other countries.Duchesneau, Michel
"Maurice Ravel et la Société Musicale Indépendante: 'Projet Mirifique de Concerts Scandaleux'"
''Revue de Musicologie'', vol. 80, no. 2, 1994, pp. 251–281 ; an
"La musique française pendant la Guerre 1914–1918: Autour de la tentative de fusion de la Société Nationale de Musique et de la Société Musicale Indépendante"
''Revue de Musicologie'', 1996, T. 82, No. 1, p. 148 In an attempt to further a proposed merger of the two organisations during the First World War d'Indy stepped down as president of the Société nationale to make way for the more "progressive" Gabriel Fauré, but the plan came to nothing.

According to the biographer Robert Orledge, the death of d'Indy's first wife in 1905 removed the stabilising influence in the composer's life, and he became "increasingly vulnerable to politically motivated attacks on the Schola Cantorum and apprehensive of dangerously decadent trends in contemporary music in both France and Germany". His aesthetic ideas, Orledge argues, became "increasingly reactionary and dogmatic" and his political views right-wing and anti-Semitic. He joined the Ligue de la patrie française (League of the French Fatherland) during the Dreyfus affair.

During the First World War d'Indy served on cultural missions to allied countries, and completed his third music drama, ''La Légende de Saint-Christophe'', in Orledge's view "a celebration of traditional Catholic regionalism as opposed to modern liberal democracy and capitalist values". After the war he increased his activities as a conductor, giving concert tours throughout Europe and the US. 1920 he married the much younger Caroline Janson; Orledge writes that this "brought a true creative rebirth, witnessed in the serene Mediterranean-inspired compositions of his final decade".

D'Indy died on 2 December 1931 in his native Paris, aged 80, and was buried in the Montparnasse Cemetery.

Works

Few of d'Indy's works are performed regularly in concert halls today. ''Grove'' comments that his famed veneration for Beethoven and Franck "has unfortunately obscured the individual character of his own compositions, particularly his fine orchestral pieces descriptive of southern France". Among his best known pieces are the ''Symphony on a French Mountain Air'' for piano and orchestra (1886), and ''Istar'' (1896), a symphonic poem in the form of a set of variations in which the theme appears only at the end.

Among d'Indy's other works are more orchestral pieces, including a Symphony in B, a vast symphonic poem, ''Jour d'été à la montagne'', and another, ''Souvenirs'', written on the death of his first wife. ''The Times'' said of his music that the influence of Berlioz, Franck, and Wagner is strong in almost all his work, "that of Franck showing itself chiefly in the shapes of his tunes, that of Wagner in their development, and that of Berlioz in their orchestration".

''Grove'' says of his chamber works: "D'Indy's somewhat academic corpus of chamber music (including three completed string quartets) is generally less interesting than his orchestral works". He also wrote piano music (including a Sonata in E minor), songs and a number of operas, including ''Fervaal'' (1897) and ''L'Étranger'' (1902). His music drama ''Le Légende de Saint Christophe'', based on themes from Gregorian chant, was premiered at the Paris Opéra on 6 June 1920.

D'Indy helped revive a number of then largely forgotten Baroque works, for example making his own edition of Monteverdi's opera ''L'incoronazione di Poppea''.Orledge, Robert, and Andrew Thomson
(Paul Marie Théodore) Vincent d'"
''Grove Music Online'', Oxford University Press, 2001 D'Indy also contributed to the incipient revival of the works of Antonio Vivaldi, whose sonatas for cello and basso continuo ( op. 14) were edited by d'Indy as cello concerti and published by Maurice Senart in 1922. His musical writings include the three-volume ''Cours de composition musicale'' as well as studies of Franck and Beethoven. ''The Times'' commented that his study of the former was "one of the most vivid and individual of modern French biographies", and the latter, published in 1912, showed "the closeness of the lifelong study which he devoted to that master".

Commemorations

The private music college École de musique Vincent-d'Indy in Montreal, Canada, is named after the composer, as is the asteroid 11530 d'Indy, discovered in 1992."(11530) d'Indy"
International Astronomical Union Minor Planet Center. Retrieved 15 May 2021

Notes, references and sources

Notes

References

Sources

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Further reading

* Norman Demuth, ''Vincent d'Indy: Champion of Classicism'' (London, 1951)
* Steven Huebner, ''Vincent d'Indy and Moral Order' and 'Fervaal': French Opera at the Fin de Siècle'' (Oxford, 1999), pp. 301–08 and 317–50
* Vincent d'Indy (Marie d'Indy, ed.), ' (Paris, 2001).
* James Ross, 'D'Indy's "Fervaal": Reconstructing French Identity at the Fin-de-Siècle', ''Music and Letters'' 84/2 (May 2003), pp. 209–40
* Manuela Schwartz (ed.), ''Vincent d'Indy et son temps'' (Sprimont, 2006).
* Andrew Thomson, ''Vincent d'Indy and his World'' (Oxford, 1996)
* Robert Trumble, ''Vincent d'Indy: His Greatness and Integrity'' (Melbourne, 1994)
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External links

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D'Indy Trio for Clarinet, Cello & Piano, Op. 29, Piano Quartet Op. 7, String Quartet No. 1 and String Sextet, Op. 92 soundbites and discussion of works
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* by Julian Lloyd Webber and the English Chamber Orchestra conducted by Yan Pascal Tortelier

{{DEFAULTSORT:Indy, Vincent D
1851 births
1931 deaths
19th-century classical composers
19th-century French composers
19th-century French male musicians
20th-century classical composers
20th-century French composers
20th-century French male musicians
Conservatoire de Paris faculty
Burials at Montparnasse Cemetery
Conservatoire de Paris alumni
French male classical composers
French male non-fiction writers
French music theorists
French Roman Catholics
French Romantic composers
Members of the Ligue de la patrie française
Musicians from Paris
Pupils of Antoine François Marmontel
Pupils of César Franck
Schola Cantorum de Paris faculty