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Updated: June 28, 2025
I should like to see M. d'Indy give himself up freely, in spite of all theories, to this descriptive lyricism, in which he so excels; or I wish at least he would seek inspiration in a subject where both his religious beliefs and his imagination could find satisfaction: a subject such as one of the beautiful episodes of the Golden Legend, or the one which L'Étranger itself recalls the romantic voyage of the Magdalen in Provence.
I hope M. d'Indy will forgive me if I have gone far wrong, and that he will see in these pages a sincere effort to understand him and a keen sympathy with himself, and even with his ideas, though I do not always share them. But I have always thought that in life a man's opinions go for very little, and that the only thing that matters is the man himself.
Saint-Saëns: Phaéton, Second Symphony, Sonatas, Persian Melodies, the Rapsodie d'Auvergne, and a quartette. Vincent d'Indy: The trilogy of Wallenstein, the Poême des Montagues, the Symphonie sur un thème montagnard, and quartettes. Chabrier: Part of Gwendoline. Lalo: Fragments of the Roi d'Ys, Rhapsodies and Symphonies. Bruneau: Penthésilée, La Belle au Bois Dormant.
M. d'Indy has been the chief representative of all this artistic evolution in France. By his deeds, by his example, and by his spirit, he was among the first to stir up interest in the musical education of France to-day.
Again, we must remember that M. d'Indy has had direct or indirect contact with some of the greatest musical personalities of our time: with Wagner, Liszt, Brahms, and César Franck.
Since then twenty years have passed, and I still see M. d'Indy as I saw him that evening; and, whatever may happen in the future, his memory for me will be always associated with that of the grand old artist, presiding with his fatherly smile over the little gathering of the faithful. Of all the characteristics of Franck's fine moral nature, the most remarkable was his religious faith.
As to Vincent d'Indy, you differ with his scheme, yet he is a master, as was César Franck a master, as are masters the two followers of D'Indy, Albert Roussel and Theodat de Sévérac. Personally I admire Paul Dukas, though without any warrant whatever for placing him on the same plane with Claude Debussy, who, after all, has added a novel nuance to art.
And it was largely with the intention of perpetuating his teaching that his pupils, Charles Bordes and Vincent d'Indy, and his friend, Alexandre Guilmant, founded in 1894, four years after his death, the Schola Cantorum, which has kept his memory alive ever since.
After such an expression of opinion one imagines that a critic ought to feel some embarrassment in writing about M. Vincent d'Indy. And I myself ought to be the more concerned in the matter, for in the number of the review where the above was written the only other opinions expressed with equal conviction belonged to the author of this book.
From having twenty-one pupils in 1896, it had three hundred and twenty in 1908. Eminent musicians and professors learned in the history and science of music taught there, and M. d'Indy himself took the Composition classes.
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