Alberic Magnard (1865–1914), was related musically to Franck through d’Indy his chief teacher. Magnard met death by the enemy in his own home during the war.
We could fill a volume concerning these interesting men, but we must continue our musical journey. From among them, however, we must learn a little more about Vincent d’Indy, not only because he is a great composer and teacher, but he has taught many Americans.
Vincent d’Indy
Vincent d’Indy (1851) a musician of finest qualities and almost countless achievements, is a cultured and educated gentleman. He was brought up by his grandmother, a woman of education and refinement, for his mother died when he was very young. He therefore learned to love culture and elegance early in his life, but this did not prevent him from doing the sort of work which make men a benefit to art and to mankind. In addition to being a musician, he is a skilled critic and writer, also a great teacher and organizer, proof of which may be found in what he has done for France, indeed, for the world, in the Schola Cantorum. He has written many books as well as magazine and newspaper articles and an immense number of musical compositions. He was born in Paris and was a member of the Garde-Mobile during the Franco-Prussian war.
Until the time that he left home for military service he studied the piano with Louis Dièmer, a noted pianist and teacher of Paris, and harmony with Marmontel and Lavignac, both equally famous. Upon his return from war service, his days with César Franck began, and these were precious hours for both the pupil and the teacher who recognized the young man’s power.
He made several trips to Germany, the first in 1873 when he carried to Brahms the César Franck score of Redemption sent with the composer’s compliments. At this time he also met Liszt and Wagner, and later he attended the Bayreuth performances including the world première (first performance) of Parsifal. His musical activities led him from the organ loft to becoming tympani (kettle-drums) player in the Colonne Orchestra, where he went, no doubt, to learn the instruments of the orchestra and how to handle them. He found out, because he is most skilled in writing for orchestra.
He has had many prominent pupils, and it is his pride and his ambition to continue along the lines laid down by César Franck. He has had more than ordinary success as a conductor going to many countries to conduct his own compositions. He came twice to America as guest conductor of the Boston Symphony appearing with that organization in its home and also in New York.
Vincent d’Indy, following the ideal of Franck is largely responsible for the return of music in his country to symphony, from which it had strayed far. In this period there was a general feeling to bring music back to classical form. This young school was doing it in France as Brahms had done it in Germany and the result was that many composers wrote symphonies. If we look through musical history since then, we will find that the revival of a feeling for the classics has helped to make the latter part of the 19th century very rich.
Although d’Indy has written several operas, there has been no attempt to give them in this country, which is strange because it is very difficult to get operas that are worth producing at the Metropolitan Opera House or in Chicago, the only other city in America that supports its own opera on a large scale.
D’Indy is living in Paris (1925), where the life around him bristles with study, achievement and ambition. He is as much of an inspiration to his pupils as was his own teacher, but this is the 20th century, in which conditions, and men, are different from those of the past! He has not stood still but has gone steadily ahead, although his influence upon the very modern writers must have been healthy and restraining, notwithstanding the fact that only a few years ago he was regarded as a modern.