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Updated: June 28, 2025
"There are two qualities," says M. d'Indy, on the last page of Cours de Composition, "which a master should try to encourage and develop in the spirit of the pupil, for without them science is useless; these qualities are an unselfish love of art and enthusiasm for good work." And these two virtues radiate from M. d'Indy's personality as they do from his writings; that is his power.
The significant work of the most considerable musicians of our time of Strauss, Debussy, Loeffler, d'Indy has few essentially romantic characteristics. It is necessary to distinguish between that fatuous Romanticism of which Mr.
We have all known artists who were revolutionaries in their own sphere, but conservative and behind the times in their opinions about other branches of art. The double gift of poetry and music is in M. d'Indy up to a certain point. But is his reason always in agreement with his heart?
The programme of this new school was explained by M. Vincent d'Indy in his Inauguration speech on 2 November, 1900, and showed how he based the foundations of musical teaching upon history. "Art, in its journey across the ages, is a microcosm which has, like the world itself, successive stages of youth, maturity, and old age; but it never dies it renews itself perpetually.
His harmony, per se, is not unusual, if one sets it beside the surprising combinations evolved by such innovators as d'Indy, Debussy, and Strauss. It is in the novel disposition of familiar material in what Mr. Apthorp has happily called his "free, instinctive application of the old in a new way" that MacDowell's emphatic individuality consists.
In this way they will come out much better armed for the difficulties of modern art, since they will have lived, so to speak, the life of art, and followed the natural and inevitable order of the forms that made up the different epochs of artistic development." M. d'Indy claims that this system may be applied as successfully to instrumentalists and singers as to future composers.
It is a difficult task, and is only possible when the different elements are reduced to their simplest expression and brought down to their fundamental qualities thus depriving them of the spice of their individuality. M. d'Indy puts different styles and ideas on the anvil, and then forges them vigorously.
He had rich pupils, among them the Vicomte Vincent d'Indy, but not one of them seems to have come forward to help him, to secure him greater time for composition, to save him from wasting his precious days in instructing a few amateurs.
The names of Camille Saint-Saëns, César Franck, Charles Bordes, and Vincent d'Indy, will remain associated before all others with this work of national regeneration, where so much talent and so much devotion, from the leaders of orchestras and celebrated composers down to that obscure body of artists and music-lovers, have joined forces in the fight against indifference and routine.
They were playing several of Franck's works; among others, for the first time, his admirable Thème, fugue, et variation, for the harmonium and pianoforte, a composition in which the spirit of Bach is mingled with a quite modern tenderness. Franck was conducting, and M. d'Indy was at the pianoforte.
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