Vincent d\' Indy
Vincent d' Indy , born with Paris the March 27th 1851 and died in Paris the December 2nd 1931, is a Compositeur French.
Biography
Vincent d' Indy came from a family of nobility ardéchoise, originating in the Vivarais. Its ancestor protesting Isaïe d' Indy, musketeer of the king, had converted with Catholicism under Louis XIV.
He was pupil of César Franck with the Conservatoire of Paris. Become famous professor and theorist, it published a treaty, the Cours of composition like various biographies (Beethoven, Franck, etc).
Artist marking of its time, it founded, in 1894, with Charles Bordes and Alexandre Guilmant, the Schola Cantorum . Initially created for the study of the sacred music, this music school became an university of musical teaching.
It counted among its pupils Leevi Madetoja, Erik Satie, Déodat de Séverac, Isaac Albéniz, Rene de Castéra, Guy de Lioncourt, Albert Roussel, Paul Flem, Arthur Honegger, Edgard Varèse, Darius Milhaud and Antoine Mariotte.
It Maria with Isabelle de Pampelonne, her German cousin, in 1875.
He was the principal craftsman, under the label Ars gallica of the National company of music, of the creation of the Young French School of music. Vincent d' Indy made known himself by his activity in this company, but more still by the recognition than were worth to him the Song of the Bell (1884) then the Symphonie on a mountain song French (1886), which counts among the large symphonic pages of its time. The Affaire Dreyfus caused its engagement in the League of the French fatherland. That hardly prevented it from accommodating several Jewish pupils, such Roland-Handbook, within the Schola Cantorum , nor to publish works of Solomon Rossi. the Legend of Saint-Christophe , whom one can regard as a lyric drama Symbolist, contains attacks against judaïté, freemasonry, the revolutionary socialism (especially notable allusions in the setting in scene of 1920, where this work was created). Moreover, of Indy affirmed that the musical invention could not be the work of the Jews, which, according to him, could only imitate, thesis taken again later on by Ernest Ansermet. The essence of the musical thought of Indy is especially in the Traité composition (of which it did not write totality itself), which formed several generations of musicians, such Marcel Mihalovici, and an original design of the history of the musical language.
Partisan of the “harmony”, it hardly adhered to the esthetics of a Bartók or a Schönberg. Despite everything, of Indy a durable innovative character with the French music printed: works of its last creative period known as " period of Agay" testify to a great faculty of renewal, greeted by the whole of the criticism of the time. In spite of the polemics where clashed debussystes and of indystes, Vincent d' Indy made known the work of Debussy abroad, as a leader. He greeted Pelléas and Mélisande like an essential work (since 1902), at one moment when criticism was generally reserved or hostile. He encouraged the young person Arthur Honegger, with whom he taught the direction of orchestra to the Academy of Paris.
After Niedermeyer but before Nadia Boulanger made work of restorer of the old music and baroque, of Palestrina, Bach, Monteverdi with Gluck, Corelli, Destouches. The “historical Concerts” of Schola Cantorum (which attracted the artistic elite of Paris, of Leon Bloy in Debussy) revealed quantity of old works that one did not play any more. It is in this context that Wanda Landowska held a class of harpsichord street Saint-Jacob. As a scholar and a pedagog, of Indy insisted on the historical approach of its art, like other scientists of Schola, Amédée Gastoué (Gregorian chant) and Maurice Emmanuel (Greek music).
The art of Vincent d' Indy was largely made known in Suisse, Russia and with the the United States, in particular through voyages, concerts, articles musicologic and critical. Admiror of its orchestral genious, Claude Debussy greeted “the quiet boldness of Vincent d' Indy to further going that itself. ”
Voyages
Since his childhood, Vincent d' Indy was taken along to each summer, during the holidays, in the family residence of Chabret, close to Valence (Ardèche, France).Valence and the farm of Indy being very close to the the Alps, and consequently very close to Switzerland, the Vincent young person was very early intrigued by this country. One, indeed, discovered a cartoon called “Switzerland” that Vincent d' Indy had drawn in 1862 (it was then eleven years old) within a collection (page 25, the collection is preserved at the Château of Faugs).
It is Vincent d' Indy who worked out the plans of the castle of Faugs (on the commune of Boffres), large family residence for the holidays and the rest (privileged vacation resort of 1890 - date of completion of its construction - at 1917, before he prefers the the Mediterranean with Saint-Raphaël).
It is often at the time of, round pleasure trips of orchestras or quite simply of visits of friends, that Vincent d' Indy went to Switzerland. Switzerland was never its principal destination, but a “practical turning” during its multiple displacements in Italy, Germany or in the Eastern European countries (let us recall that of Indy was a partisan of the music of Wagner and Tétralogie, that it met Brahms, Liszt and Wagner in person).
In 1879, Vincent d' Indy passes to Basle to see the fabrics of Holbein and Rembrandt. But the first true voyage in Switzerland was in May 1880, in company of his wife. This Swiss stay remained very short because it was only one pretext, the objective was Germany (visits of Nuremberg, Munich…) and the Austria (Vienna…).
It is in August 1884 that Switzerland was better discovered. After being itself rested a few weeks in Ardeche, Vincent d' Indy left to foot through Switzerland (then through Germany…). It is there that it notes some musical ideas, that it traces Aquarelle S and that it likes to walk in nature.
In 1896, of Indy directs several concerts to Montreux. But it is as from summer 1902 that Vincent d' Indy will make really knowledge with Switzerland. One kept a testimony of it. In a letter with Auguste Sérieyx of August 23rd (written in Faugs), of Indy depicts its voyage to Geneva. He admires the Mont Blanc but is indignant at the commercial musics, frauds and “manifest dirtinesses”.
Starting from this date, several voyages will follow one another. That of 1910 remains tiny. In summer 1911 (in France, school summer holidays being in July - August, the majority of people benefit from these two months to travel), Switzerland is again attractive for its flourishing nature. D' Indy writes its musical impressions on water: “The torrent makes only the decreased fifth; I was to observe much of it; the sea, it, makes an octave”.
Articles, conferences and homages
January 17th, 1928, the Gazette of Lausanne summarizes the conference of Vincent d' Indy on Beethoven and its Sonate S given on January 13rd to the House of the people. The critic is disappointed, even disconcerted, by the remarks of Indy. October 1st, 1930, Charles Chaix written on last works of Indy in the Newspaper of Geneva.
December 4th, 1931, among the very many newspapers which reported the death of Vincent d' Indy (it will die on December 2nd), one could find the articles of the Gazette of Lausanne and the Newspaper of Geneva. December 5th of the same year, Henri Gagnebin for the Newspaper of Geneva concludes his article thus: “And maintaining the untiring worker takes his rest”. Lastly, on January 29th, 1933, the Gazette of Lausanne recalls the auction of the personal library of Vincent d' Indy who took place on January 20th with the Hôtel Drouot (Paris).
Works
Four volumes of the Cours of composition (completed in 1903) are preserved at the Bibliothèque of the academy of music of Geneva. Indeed, Henri Gagnebin who was the director of this academy of 1925 to 1957, had made his musical studies with the Schola Cantorum (music school rested by Vincent d' Indy, Charles Bordes and Alexandre Guilmant in 1896 in Paris). Moreover, Gagnebin which remained faithful to Indy, always endeavoured to respect works of this last.
the Song of the bell , Opus 18 (in a prolog and seven tables, made up of 1879 to 1883, published at Hamelle), is a dramatic legend inspired by the ballade of Schiller. But of Indy - which wrote with Robert de Bonnières all the poem - the history in a “free” city of the north of Switzerland located, at the end of the 14th century and at the beginning of the 15th century.
To slacken Song of the bell , Vincent d' Indy writes in December 1882 three Valse S for Piano whose whole constitutes work Helvetia Opus 17. This work is a sincere testimony of Indy for Switzerland. Indeed, each one of these waltz illustrates its recent voyage in Switzerland with the return of Bayreuth. The collection appears at Hamelle in March 1884.
Each one of these waltz in the form of Lied bears the name of a site of the German-speaking Switzerland . Thus, Aarau (the first waltz), seems to point out the grace indolente Gabriel Fauré to which it is dedicated. Its syncopated rate/rhythm and its some variations offer an impression of expressive swinging.
Then, Schinznach (the second waltz), dedicated to Andre Messager, appears in his melody contour less refined excluded the charming tonal relation which combines the repetitions of the principal reason. Finally Laufenburg (the third and last waltz), dedicated to its former Master of piano Louis Diémer, has in its five sections a significant, tender and flexible writing.
Concerning famous the Fervaal , Opus 40 (musical action in three acts and a prolog, on a poem of Vincent d' Indy, made up of 1881 to 1895, published in Durand), it is the integral creation which was noticed in Switzerland, whereas this creation took place with the Théâtre of the Currency of Brussels (Belgium), on March 12th, 1897.
March 15th, 1897, the article of Anth. Dubois, in the musical Gazette of the French-speaking Switzerland, was very eulogistic: “It is the most beautiful drama which was written in France, without any restriction, and even, had one to vomit me insults for my heresy, it is the lyric work most imposing, most serene of eloquence and the expression, freest of the major form and of thought written until now - I hear the murmurs thunder dully - Wagner, the immortal Wagner itself, exceeded, not, but equalized, supplemented, perhaps completed, because of Indy succeeded in rectifying a philosophical thought which was not always of an undeniable truth”. He concludes on the bright beauty: “It is an originality strong and powerful, it is a young genius, and it is on him that the musical world must now hold the fixed eyes. It is him which develops and continuous the work carried out by Wagner and one can wait of his genius that it still moves back the terminals of our art”.
With the same date, an article anonymously signed G., was published in the Courrier of Geneva: “it definitively devotes the beautiful one and vigorous talent of the young Master in whom it French school placed his more beautiful hopes. ” On the innovation of the style, one reads: “There are thus no reasons not to be delighted by radiant and splendid triumph by the novel ideas and to draw from it all the possible party until the moment when they will not satisfy any more our insatiable need for unknown”.
The other musical action not less famous, the Foreigner Opus 53 (in two acts, made up of 1898 to 1901, published in Durand), aroused the interest of the Swiss musicologists. Thus, the reviews Mail of Geneva and musical Gazette of the French-speaking Switzerland (Anth. Dubois) spoke about this new musical drama.
Most known of the symphonies on nature, the Symphony on a mountain song French Opus 25 (in three movements, made up since 1886, published at Hamelle) - said the Cevennes one for piano and Orchestra (which is not a concerto) - was listened by Swiss critics. For example, the big hit in the Lamoureux Concert of January 1931 was reported on February 1st, 1931 in the Newspaper of Geneva.
In the same way, the concert of October 1930 to Barcelona (Spain), where Vincent d' Indy directed the Orchestra of Pablo Casals for his Symphony n°2 in B flat Opus 57 (in four movements, made up in 1902-1903, published in Durand), was criticized on November 1st, 1930 in the Newspaper of Geneva.
The public conference of November 17th, 1920 of H. Lichtenberger (professor at the University of Paris) data Room of Bierhübeli (French Survey firm of Bern) on the Legend of Saint-Christophe Opus 67 (lyric drama in three acts and eight tables, on a poem of Vincent d' Indy, made up of 1908 to 1915, published at Rouart-Lerolle).
More surprising, work Veronica Opus 76 is due to a young Swiss literary man. In spring of 1913, Vincent d' Indy receives the visit of Charles Gos. This last brings its to him drama in five acts, Alpine drama which enchants of Indy. Started in summer 1914, this work was completed by Indy on September 15th, 1920. Unfortunately, this incidental music for Flute, Oboe, Clarinet, Bassoon, two horn S and Quintet with cords, neither was played nor published.
The Sonata in major D Opus 84 (made up in 1924-1925, published at Rouart-Lerolle) was created on March 5th, 1926 in the Room of the Farmers (Paris) by Edwige Bergeron (violoncello) and Vincent d' Indy (piano). It is this creation which held the attention of the Gazette of Lausanne of July 25th, 1926. The firm pace, the eloquent feeling and the easier technique are rented there.
This same article also quotes (even concert) the varied Topic, running away and song Opus 85 (made up in 1925, published at Rouart-Lerolle), work for piano dedicated to Blanche Selva.
Principal works
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orchestral Music:
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Chamber music:
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vocal Music:
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Opera S:
References
Sources
- Marc Kowalczyk, Vincent d' Indy, his life, its work, its art, its character , ED. Delatour France, Sampzon, 2005;
- Damien Top, D' Indy it burns? , Political Magazine.
External bonds
- Vincent d' Indy, musician, type-setter, pedagog, leader… , site on the type-setter.
More
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Symphonies n° 1 & 2 , Aldo Ciccolini, National orchestra of Capitole of Toulouse directed by Michel Plasson and Orchestra of Paris directed by Serge Baudo.
- Georges Jean-Aubry, Vincent d' Indy , musical life, Lausanne, May 15th, 1908.
- Auguste Serieyx, D' Indy, Duparc and Roussel (or Letters with Sérieyx) , ED. of Cervin famous Documents, Lausanne, 1963.
- Henri Gagnebin, Music, my beautiful concern , ED. The baconnière, Neuchâtel, 1968.
- Henri Gagnebin, Vincent d' Indy , Re-examined musical of French-speaking Switzerland, no 25,1972.
- Yvonne de Blaunac, Vincent d' Indy , ED. Simone Sudre Selection, Switzerland, 1987,130 pages.
- Marc Kowalczyk, series of article on Vincent d' Indy, review Invitation with the music, 80 and 81, Montrouge (France), 1992.
- Marc Kowalczyk, the Art of Vincent d' Indy , bulletin of the National company of Music, Timeless 10, Paris, France, 1994.
- Jean and Francine Maillard: Vincent d' Indy (monograph and musical analyzes), Zurfluh, 1995.
- Vincent d' Indy: My Life . Correspondence and newspaper of youth presented by Marie d' Indy. Seguiers, 2001
- Vincent d' Indy and his time , acts of the conference of musicology, 2002, BNF, under the direction of Manuela Schwarz. ED. Mardaga, 2006.
- Poëme of the mountains op.15; Tables of voyage op.3; Varied topic, running away and song op.83 (CD), Michael Schäfer with the piano, enreg. 2005. Genuin Musikproduktion, 2007, GEN87083.
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