The work ends with a rapid iteration, molto crescendo, of the first motive—in diminution. Now that we have reviewed the entire composition, there is one feature worthy of special emphasis. The structure as a whole (as we have stated) is clearly divided into three main parts; but when we examine the third part by itself, we find that it follows the lines of the sonata-form. For there is a first portion, with a main theme in F-sharp major, and a second theme—the new melody—in D major; the passage for pianoforte in E-flats major stands for the development, and the movement concludes with a distinct third portion, both first and second theme being in the home key. Thus the structure represents a carefully planned union of the variation form and the sonata-form which were special favorites of Franck. The work, which, after earnest study, will surely be enjoyed and loved, ranks with the Istar Symphonic Variations by d'Indy and the two sets on themes from Paganini by Brahms as the acme of what the variation form may indeed be when treated by a master.
CHAPTER XVIII
THE MODERN FRENCH SCHOOL—D’INDY AND DEBUSSY
NOT only as the most distinguished of César Franck's pupils, but by reason of his undoubted musicianship and marked versatility—his works being in well nigh every form—Vincent d'Indy (1851-still living) is rightly considered to be the most representative composer of his branch of the modern French school.[284] Whether history will accord to him the rank of an inspired genius it is as yet too early to decide; but for the sincerity and nobility of his ideas, for his finished workmanship and the influence he has exerted, through his many-sided personality, in elevating public taste and in the education of young musicians, he is worthy of our gratitude. D'Indy is a patriotic Frenchman believing profoundly that French music has an important rôle to bear; who has incarnated this belief in a series of works of such distinction that, if not unqualifiedly loved, they at least compel recognition. If he swings a bit too far in his insistence upon the exclusive glories of French genius, let us remember that the modern Germans[285] have been just as one-sided from their point of view—and with even less tangible proof of attainment. For it seems incontestable that, since the era of Wagner and Brahms, the modern French and Russian Schools have contributed to the development of music more than all the other nations combined. It is for us in America who, free from national prejudice, can stand off and take an impartial view, to appreciate the good points in all schools. A detailed account of d'Indy's life and works will not be necessary, for the subject has been admirably and comprehensively treated by D.G. Mason in his set of Essays on Contemporary Composers and in the article by E.B. Hill in the Art of Music, Vol. 3.
D'Indy's compositions, as in the case of Franck, are not numerous, but finely wrought and of distinct and varied individuality. His chief instrumental[286] works comprise a Wallenstein Trilogy (three symphonic poems based on Schiller's drama) notable for descriptive power and orchestral effect; a Symphony for orchestra and pianoforte on a mountain air[287]—one of his best works, because the folk-song basis furnishes a melodic warmth which elsewhere is sometimes lacking; a set of Symphonic Variations on the Assyrian legend of Istar; a remarkable Sonata for violin and pianoforte; a String-Quartet, all the movements of which are based on a motto of four notes, and lastly the Symphony in B-flat major—considered his masterpiece—in which the same process of development from generative motives is followed as in César Franck. All these works contain certain salient characteristics proceeding directly from d'Indy's imagination and intellect. There is always an ideal and noble purpose, a stoutly knit musical fabric and melodies—d'Indy's own melodies, sincerely felt and beautifully presented. Whether they have abounding power to move the heart of the listener is, indeed, the point at issue. Since d'Indy is on record as saying, "There is in art, truly, nothing but the heart that can produce beauty," it is evident that he believes in the emotional element in music. That there is a difference of opinion however, as to what makes emotional power is shown by his estimate of Brahms (set forth in his Cours de Composition Musicale, pp. 415-416) in the statement that, though Brahms is a fine workman, his music lacks the power to touch the heart (faire vibrer le coeur). There is no doubt that, in any question of Brahms versus d'Indy, such has not been the verdict of outside opinion. D'Indy is admired and respected, whereas Brahms has won the love of those who know him; and the truth in the saying, "Securus judicat orbis terrarum" is surely difficult to contravene. D'Indy's melodies can always be minutely analysed[288] and they justify the test; but we submit that the great melodies of the world speak to us in more direct fashion. For there is, in his music, a seriousness which at times becomes somewhat austere. He seems so afraid of writing pretty tunes or ear-tickling music, that we often miss a sensuous, emotional warmth. He hates the commonplace, cultivating the ideal and religion of beauty. Bruneau, himself a noted French critic and composer, says, "No one will deny his surprising technique or his unsurpassed gifts as an orchestral writer, but we might easily wish him more spontaneity and less dryness." We cannot, however, miss the dignity and elevation of style found in d'Indy's works or fail to be impressed by their wonderfully planned musical architecture. His music demands study and familiarity and well repays such effort. D'Indy's work, as a teacher, centres about the "Schola Cantorum" so-called, in which several talented American students from Harvard and other Universities have already worked. Here all schools of composition are thoroughly studied, and the rigid and formal methods of the Conservatoire abandoned. D'Indy believes that the materials for the structure of modern music are to be found in the Fugue of Bach, and in the cyclical Sonata Form and the free Air with Variations of Beethoven—these forms, by reason of their inherent logic and simplicity, allowing scope for infinite freedom of treatment. D'Indy is also a thoroughly modern composer in that he is an artist in words as well as in notes. His life of César Franck is a model of biographical style, and he has recently published a life of Beethoven refreshingly different from the stock narratives. In fine, d'Indy is a genius, in whom the intellectual aspects of the art, rather than purely emotional appeal, are clearly in the ascendant.
We shall now comment briefly on one, only, of d'Indy's compositions, the Symphonic Poem, Istar, which is a set of variations[289] treated in a manner as novel as it is convincing; the work beginning with variations which gradually become less elaborate until finally only the theme itself is heard in its simple beauty. This reversal of customary treatment is sanctioned by the nature of the subject, and the correspondence between dramatic logic and musical procedure is admirably planned. The story of the work is that portion of the Assyrian epic Izdubar which describes, to quote Apthorp's translation of the French version, "how Istar, daughter of Sin, bent her steps toward the immutable land, towards the abode of the dead, towards the seven-gated abode where He entered, toward the abode whence there is no return." Then follows a description of the raiment and the jewels of which she is stripped at the entrance to each of the gates. "Istar went into the immutable land, she took and received the waters of life. She presented the sublime Waters, and thus, in the presence of all, set free the Son of Life, her young lover." The structural novelty of the work is that, beginning with complexity—typifying the gorgeously robed Istar—the theme discloses itself little by little, as she is stripped of her jewels, until at last, when she stands forth in the full splendor of nudity, the theme is heard unaccompanied, like Isis unveiled or, to change the figure, like a scientific law which has been disclosed. The work is based on three generative themes; the second, derived from the first and of subsidiary importance, called by d'Indy the motif d'appel. It plays its part, however, since it introduces the work and serves as a connection between the variations, seven in all. These themes are as follows:
1. Principal theme:
