Iacobus Leodiensis [Iacobus de Montibus, Iacobus de Oudenaerde]

Indy, (Paul Marie Théodore) Vincent d’

(b Paris, 27 Mar 1851; d Paris,2 Dec 1931). French composer, teacher, conductor and editor of early music. His famed veneration for Beethoven and Franck has unfortunately obscured the individual character of his own compositions, particularly his fine orchestral pieces descriptive of southern France. As a teacher his influence was enormous and wideranging, with benefits for French music far outweighing the charges of dogmatism and political intolerance.

1. Life.

2. Teaching and criticism.

3. Works.

WORKS

WRITINGS

BIBLIOGRAPHY

ANDREW THOMSON (text, bibliography), ROBERT ORLEDGE (work-list)

Indy, Vincent d’

1. Life.

D’Indy came from a military aristocratic family from the Ardèche region, a fact of the greatest importance in understanding his lifelong nationalist and right-wing political position. His mother died in childbirth, and he was brought up by his paternal grandmother, Thérèse (née de Chorier). Her strict regime, however, was mitigated by deep affection: she was not the tyrannical ogress of received opinion. D’Indy took lessons in piano from Louis Diémer and theory from Albert Lavignac; while showing definite promise, he showed more interest as a boy in military matters and the life of his hero Napoleon. At 18, having passed his baccalauréat, he was sent on an extended trip to Italy, which confirmed his growing, if unfocussed sense of himself as a potential composer, rather than an army officer; this experience also fostered a permanent love of Dante, which helped form his philosophy of life. Nevertheless, his patriotic instincts impelled him to volunteer for active service in the National Guard during the Prussian siege of Paris in the freezing winter of 1870–71.

After this upheaval, his father Antonin insisted on his studying law at the Sorbonne, from which he was rescued by the death of Thérèse and a handsome legacy. Music thereafter was to be his life’s work, and, on his friend Duparc’s recommendation, he joined Franck’s organ class at the Conservatoire. There, organ playing took second place to a composition course unrivalled, by French standards, in its depth and thoroughness. A slow and laborious developer, d’Indy gained only a premier accessit on graduating in 1875. Anxious to widen his horizons, he had already made a vacation tour of Germany in 1873, taking part in Liszt’s piano masterclasses in Weimar, and experiencing the concert and operatic life of Dresden, Vienna and Munich. Enterprisingly, he attended the 1876 première of Wagner’s Ring at Bayreuth, and was emotionally overwhelmed by Die Walküre and Götterdammerung. Meanwhile in Paris he studied relentlessly to acquire solid compositional techniques and complete musicianship, gaining invaluable experience as second timpanist in Edouard Colonne’s orchestra, and subsequently as salaried chorus master. These efforts were rewarded in 1885 when he won the prestigious Grand Prix de la Ville de Paris for his cantata Le chant de la cloche. Two years later, his best known work, the Symphonie sur un chant montagnard français, received its première.

Though personally ambitious, he also possessed a keen sense of noblesse oblige, actively encouraging his contemporaries, such as Chabrier and Fauré, and, together with Chausson, becoming joint secretary of the Société Nationale Musicale in 1885. Simultaneously he acted as musical adviser to the Brussels-based Circle XX, which promoted new developments in the visual arts, music and literature. Of the younger generation, Debussy and Dukas gained his admiration, particularly for their respective L’après-midi d’un faune and L’apprenti sorcier, works which he later took on conducting tours abroad. The 1890s were years of crusade. Grave dissatisfaction with the anachronistic teaching methods of the Conservatoire and the constricting requirements of the Prix de Rome competition induced him to join Charles Bordes and Alexandre Guilmant in founding the Schola Cantorum in 1894; he took over as full director in 1904. The Schola initially set out to propagate reforms to the music of the Catholic liturgy, with special emphasis on Gregorian chant and Palestrinan polyphony; soon it developed into a complete musical academy in its own right. In these years, d’Indy was also occupied with two ambitious music dramas, Fervaal and L’étranger.

Disturbed by the Dreyfus affair, he had become increasingly nationalistic and anti-Semitic, and with the political author Maurice Barrès he joined the Ligue de la Patrie Française, which sought a common definition of France to heal its cultural fragmentation. The death of his wife Isabelle in 1905 removed the stabilizing influence in his life, and thereafter he became increasingly vulnerable to politically motivated attacks on the Schola Cantorum and apprehensive of dangerously decadent trends in contemporary music in both France and Germany. Consequently he became increasingly reactionary and dogmatic in his aesthetic ideas. His biography of his beloved master Franck (1906) established the persuasive myth of a medieval saint-like figure; the Franckian cyclic symphony he interpreted, in Ruskinian terms, as structurally analogous to a Gothic cathedral.

The outbreak of World War I in 1914 he welcomed both as a necessary confrontation with the German menace and as a purifying force for his own country. Rejected for active military service at the age of 63, he served on cultural missions to allied countries, and succeeded in completing his third music drama, La légende de Saint-Christophe. Peace brought new problems, however. Financial difficulties caused by massive inflation induced him to increase his regular load of conducting tours throughout Europe and America. Yet remarriage in 1920 to the much younger Caroline Janson brought a true creative rebirth, witnessed in the serene Mediterranean-inspired compositions of his final decade. At the same time, determined not to be marginalized as a relic of the past, he engaged forcefully with modernistic developments; there was vigorous criticism – highly prejudiced and not always well informed – of Les Six, Schoenberg and Varèse, as well as such supposedly dehumanizing phenomena as pianolas and gramophones. Indomitable to the end, he continued to compose, conduct, and direct the Schola Cantorum right up to his brief final illness.

Indy, Vincent d’

2. Teaching and criticism.

D’Indy’s critical awareness began with his own invaluable lessons with Franck, which emphasized the fundamental importance of tonal architecture and the clear deployment of themes, as exemplified in the works of Bach and Beethoven. At Weimar, Liszt introduced him to the notion of an historically based pedagogy, by following which students could discover for themselves the evolution of their art through its successive stages. D’Indy thus glimpsed the possibility of Franck’s timeless methods enriched with wider historical perspectives, and the resulting synthesis was first tried out successfully in the 1880s with his first pupil, Albéric Magnard, who laboriously worked on his first two symphonies and opera Yolande under d’Indy’s guidance.

In 1892 d’Indy sat on a state commission to propose reforms to the Paris Conservatoire’s curriculum, but the separate report he submitted – advocating a rather idealistic two-tier system of instrumental teaching, with pure technical instruction followed by in-depth study of aesthetic and interpretative questions – was not acted on. Declining a Conservatoire professorship in disgust, he took the opportunity to develop his own scheme of composition teaching at the Schola Cantorum, attracting increasingly large numbers of students from the Latin-speaking world: France, Spain, Romania and South America. These courses proved invaluable for late developers like Roussel, and those with special needs like Satie. On the other hand, the anarchic Varèse reacted violently against his master’s paternalistic manner. Yet d’Indy operated his seemingly dogmatic system with considerable flexibility, being concerned with the students’ individual needs and problems, and encouraging active participation in class. Indeed, as director he conceived the Schola essentially as a community devoted to fostering a modern social art, according to his enlightened Roman Catholic philosophy. Novel anti-bureaucratic principles included the abolition of prizes, a wide social mix of students – all being obliged to sing in the choir – and full admission of women to all courses.

D’Indy’s composition courses were subsequently edited by his assistants Auguste Sérieyx and Guy de Lioncourt as Cours de composition musicale, which proved highly influential outside the walls of the Schola, to be studied, for example, by Messiaen at the Conservatoire and by Villa-Lobos in Brazil. At its core, in the second part, are extensive sections devoted to sonata and symphonic structures, derived above all from the practices of d’Indy’s hero figures Beethoven and Franck. These structures were held to embody eternal humanistic and ethical values, a bulwark against the formal flux and harmonic sensationalism of Debussy’s Pelléas et Mélisande and Strauss’s expressionistic anarchy in Salome and Electra. Above all, the unifying device of cyclic themes is invested with theological symbolism, as representing the Holy Trinity and the idea of perfection. For all its Catholic ethos, however, the work’s fully comprehensive and unified presentation of musical history, theory and analysis owed much to current scientific positivism.

Inevitably, in the context of the secular and increasingly politicized Third Republic, the Schola attracted a great deal of controversy and hostility; despite its admirably progressive intentions, it became increasingly regarded as a reactionary and anti-Semitic institution. Moreover, d’Indy’s dogmatic emphasis on the teaching of counterpoint (and refusal to acknowledge harmony as a separate subject of study) was irresponsibly exploited by the young critic Emile Vuillermoz, who in 1905 unleashed a fatuous journalistic war. According to his ideological distortion, the ‘verticalist’ party of Debussy, Ravel and the Impressionist school represented the future with their cult of experimental harmonies and orchestral effects, whereas the ‘horizontalists’ of the Schola remained imprisoned in their outdated formal and contrapuntal procedures. Wisdom, however, had prevailed in Fauré’s 1905 reforms of the Conservatoire, which belatedly adopted d’Indy’s ideas of historically based composition courses and strengthened contrapuntal studies.

In its work of reviving forgotten masterpieces of the medieval, Renaissance and Baroque eras, the Schola Cantorum justly won widespread acclaim. Of particular note were d’Indy’s concert performances, with student forces, of Monteverdi’s Orfeo and L’incoronazione di Poppea in his own editions from manuscript sources discovered in Italian libraries by Romain Rolland. D’Indy also contributed to the enterprising Durand edition of Rameau’s works with Hippolyte et Aricie and Dardanus; these, together with Castor et Pollux, were also given at the Schola’s concerts, winning the approval of Debussy.

Indy, Vincent d’

3. Works.

D’Indy’s somewhat academic corpus of chamber music (including three completed string quartets) is generally less interesting than his orchestral works which, while always manifesting his concern for the utmost structural coherence, invariably contain important programmatic or symbolic elements; above all, nature painting brought out his full imaginative mastery of orchestral texture. His major apprentice work was Wallenstein (1870–81), a group of three interrelated concert overtures on Schiller’s drama. Although it cost him an enormous amount of time and labour, the result is all too derivative in style, with his Wagner obsession apparent in heroic themes blatantly adapted from the ‘forging’ and ‘sword’ motives in the Ring. Increasing refinement of technique was achieved in this early German-inspired period, as in the Weberian La forêt enchantée (1878). Impressions of medieval Nuremburg (visited in 1873) lay behind the conventionally romantic cantata Le chant de la cloche (1879–83). Employing Wagner’s leitmotif technique, this work is remarkable mainly for its bold orchestral realizations of a variety of bell sonorities, to which two pianos contribute. The finale’s assembly of civic worthies to judge Wilhelm’s last bell is very obviously indebted to Die Meistersinger.

Happily, d’Indy’s ancestral roots in the Ardèche ultimately proved stronger than the enchantments of Bayreuth, and the Symphonie sur un chant montagnard français for piano and orchestra (1886) proved to be a breakthrough in the development of his personal style. Though Franckian in its symphonic structure, with two cyclic themes, the work’s superb orchestral invention evokes the mountainous terrain and sounds of nature. The solo piano, Lisztian in its Impressionistic textures, is essentially decorative and interacts with rather than opposes the orchestra. Likewise, his long gestated music drama Fervaal (1889–95) is set in the Ardèche, in the remote era of the Saracen invasions, and portrays a conflict of religious civilizations. Though conceived on a Wagnerian scale, with pervasive use of leitmotifs, the opera also owes much to Meyerbeer (d’Indy’s boyhood idol) in its local and exotic colour, as well as in its assured handling of crowd scenes. Moreover, it follows the example of Berlioz rather than of Wagner in its orchestral technique of highlighting individual sonorities. D’Indy’s invention is at its boldest in the earth goddess Kaito’s prophesy of the new religion of light in Act 2, using extraordinary sequences of whole-tone harmonies and parallel triads to create an atmosphere of awe and mystery.

During the following years, d’Indy’s compositions display a structural radicalism as if in opposition to the pedagogical strictness of the Schola’s courses. Istar's novel set of orchestral variations in reverse order – moving from complexity towards simplicity, and ending with a bare unison statement of the theme – aptly illustrates the Assyrian legend of Istar gradually divesting herself as she passes through the seven doors of the underworld to release her beloved. The piece was subsequently choreographed with great success, notably by Ida Rubinstein in the 1920s.

D’Indy’s urge to confront the scientific materialism of his age generated the unusual opera L’étranger (1898–1901), in part an expression of contempt for Zola’s and Bruneau’s doctrine of realism. Set in a fishing community on the Atlantic coast, L’étranger is a deliberately hybrid conception, opposing banal verismo scenes to others of a mystical, symbolist character owing something to Maeterlinck; in the later scenes the redeeming figure of the Stranger appears, characterized by two themes of liturgical type. For his intimate dialogues with Vita, a local girl, d’Indy adapted the psychological conversation technique of Ibsen. But the work’s outstanding feature is undeniably its vivid depiction of the sea, both in Vita’s pantheistic communings and in the final catastrophic storm scene, which uncannily anticipates Debussy’s La Mer.

The Ardèche reappears in Jour d’été à la montagne (1905), whose three movements depict the course of a day in the country, from sunrise to sunset. The music grows out of and finally returns to the primordial darkness of a C spread over six octaves, the closing section being more or less a palindrome of the opening. Also noteworthy are the advanced features of the orchestration; for example, piano and chromatic timpani graphically depict a brief clap of thunder in an almost Bartókian manner. By contrast, the Symphony in B (1902–3) exemplifies the grand canonical cyclic structures as taught at the Schola Cantorum, concluding with a fugal finale to restrain the initial motto theme’s tendency to generate subversive whole-tone harmonies and textures.

D’Indy’s politically reactionary beliefs are given full voice in his third music drama, La légende de Saint-Christophe (1908–15), a celebration of traditional Catholic regionalism as opposed to modern liberal democracy and capitalist values. The most notorious part, and at the same time the weakest, is the first act’s tasteless parade of false thinkers, scientists and artists united in their hatred of Christ and charity, in which stylistic features of Debussy and Stravinsky are ruthlessly parodied. However, an appropriately elevated tone is achieved thereafter. The second act’s magnificent symphonic poem represents Auférus’s disappointing journey in search of the King of Heaven, with clashing bell sonorities to evoke Papal Rome. The Ardèche becomes hallowed by the appearance of the Christ-child, whom Auférus unknowingly carries across a raging torrent (depicted by moto perpetuo chromatic semiquavers), thereby becoming St Christophe. Crucial dramatically are the convulsive, harshly dissonant scene of his baptism and that of the conversion of Nicéa, Queen of Pleasure, both accompanied by a chromatic chord sequence representing the waters of life, obviously derived from the magic fire music in Die Walküre. Appropriately, some Gregorian themes - Vexilla regis, Haec dies and Qui vult venire – also play a significant role in the spiritual drama.

The outstandingly poetic orchestral works of d’Indy’s Indian summer, Le poème des rivages (1919–21) and Diptyque méditerranéen (1925–6), atmospherically evoke the coasts and seascapes of the Mediterranean. Here d’Indy’s visual sense is at its most acute in the creation of translucent textures to realize the effects of changing light, and the music has a restrained warmth of feeling and colouristic beauty that totally undermine the standard image of the man as a bigoted, desiccated pedant. If outwardly his militaristic persona, addiction to polemics and urge to pedagogical systems represented the assertive traits in his character, a more subtle dimension is evidenced in his attraction to the Italian ‘primitive’ painters and late 19th-century symbolism, particularly the poetry of Mallarmé and the earlier music of Debussy. He was a man of contradiction and complexity.

Indy, Vincent d’

WORKS

operas

op.

–	Les burgraves du Rhin (R. de Bonnières), 1869–72, inc.
–	Les maîtres-sonneurs (after G. Sand), project, 1874
–	Mahomet (after J.W. von Goethe), project, 1874
–	Les abencérages (after F.R. de Chateaubriand), project, 1874
–	Axel (d’Indy, after E. Tegnér), project, ?1878, only lib completed, later used as basis for Fervaal
–	Peau d’âne (féerie, after C. Perrault), project, 1879
–	L’organiste de Harlem (oc, 3, d’Indy), project, ?c1880, lib in F-Pn
14	Attendez-moi sous l’orme (oc, 1, J. Prével, de Bonnières, after J.F. Régnard), 1876–82, Paris, Opéra Comique (Favart), 11 Feb 1882
18	Le chant de la cloche, 1879–83, Brussels, Monnaie, 21 Nov 1912 [stage version of choral work]
40	Fervaal (action musicale, prol, 3, d’Indy), 1889–93, orchd 1893–5, Brussels, Monnaie, 12 March 1897
53	L’étranger (action musicale, 2, d’Indy), 1898–1901, Brussels, Monnaie, 7 Jan 1903
67	La légende de Saint-Christophe (drame sacré, 3, d’Indy, after J. de Voragine: Legenda aurea), 1908–15, Paris, Opéra, 9 June 1920
80	Le rêve de Cinyras (comédie musicale, 3, X. de Courville), 1922, orchd 1922–3, Paris, Petite Scène, 10 June 1927

orchestral

–	Symphony no.1 (Symphonie italienne), A, 1870–72, unpubd
–	La divine comédie, sym. poem after Dante, project, 1871
5	Jean Hundaye, sym., 1874–5, unpubd
6	Antoine et Cléopatre, ov. after W. Shakespeare, completed 1876, unpubd
8	La forêt enchantée (Harald), sym. legend after Uhland, 1878
12	Wallenstein, 3 sym. ovs. after F. Schiller, 1870–81: Le camp, Les piccolomini, 1873, rev. as Max et Thécla, 1881, La mort de Wallenstein
19	Lied, vc/va, orch, 1884
21	Saugefleurie, legend after de Bonnières, 1884
25	Symphonie sur un chant montagnard français (Symphonie cévenole), pf, orch, completed 1886
28	Sérénade et valse, 1885, op.17/3 also orchd after 1887, only frag. extant [after pf works opp.16/1 and 17/1]
31	Fantaisie sur des thèmes populaires français, ob, orch, 1888
34	Karadec (incid music, A. Alexandre), 1890
36	Tableaux de voyage, 1889, orchd 1892 [after pf works op.33/1, 2, 5, 4, 6, 13]
42	Istar, sym. variations, 1896
47	Médée (incid music, C. Mendès), 1898
55	Choral varié, sax/va, orch, 1903
57	Symphony no.2, B, 1902, orchd 1902–3
61	Jour d’été à la montagne, sym. triptych, 1905
62	Souvenirs, poem, 1906
70	Symphony no.3 (Sinfonia brevis (de bello gallico)), 1916–18
76	Veronica (incid music, C. Gos), 1919–20, unpubd
77	Poème des rivages, sym. suite, 1919–21
87	Diptyque méditerranéen, 1925–6
89	Concert, fl, vc, str, 1926

sacred vocal

22	Cantate Domino, canticle, 3vv, org, 1885
23	Sainte Marie-Madeleine (cant.), S, female vv, pf, hmn, 1885
41	Deus Israel conjungat vos (motet), 4–6vv, 1896
46	Les noces d’or du sacerdoce (P. Delaporte), canticle, 1v, hmn, 1898
49	Sancta Maria, succure miseris (motet), 2 equal vv, org, 1898
75	Pentecosten (24 popular Gregorian canticles), 1v, unison vv, org, 1919
79	Ave, regina coelorum (motet), 4vv, 1922
83	Deux motets en l’honneur de la canonisation de Saint Jean Eudes, 4vv, 1925
88	O domina mea (motet), 2 equal vv, org, 1926

secular vocal

excluding songs

2	La chanson des aventuriers de la mer (V. Hugo), Bar, male vv, pf, str qnt, completed 1872, pubd with pf acc. only
11	La chevauchée du Cid (de Bonnières), Bar, vv, orch/pf, 1876–9 [after song op.11]
18	Le chant de la cloche (legend dramatique, prol, 7 tableaux, d’Indy, after Schiller), solo vv, double chorus, orch, 1879–83, staged 1912
32	Sur la mer (d’Indy), female vv, 1888
37	Cantate de fête pour l’inauguration d’une statue (E. Augier), Bar, vv, orch, completed 1893, unpubd
39	L’art et le peuple (Hugo), 4 male vv, 1894, orchd 1918
44	Ode à Valence (Genest), S, male vv, orch, 1897, unpubd
–	O gai soleil (d’Indy), 2vv, 1909, pubd as suppl. to BSIM, v (15 Oct 1909)
–	Vive Henry quatre, 4vv, wind band/pf, ?1909 [harmonization of anon. song]
78	Two Scholars’ Songs (anon.), 2vv, 1921
82	Trois chansons populaires françaises, 4vv, 1924
90	Six chants populaires français, set 1, nos.1 and 3–6 for 4vv, no.2 for 3 female vv, completed 1927
93	Le bouquet de printemps (anon.), 3 female vv (solo or choral), completed 1928
97	Les trois fileuses (M. Chevais), 3 equal vv, 1929
100	Six chants populaires français, set 2, 4vv, 1930
102	Chanson en forme de canon à l’octave, S, Bar, 1931
103	Chant de nourrice (J. Aicard), 3 equal vv, 1931
104	Le forgeron (Aicard), 3vv, str qt, 1931
105	La vengeance du mari (anon.), S, T, T, 4vv, small wind band/pf, 1931, pubd as op.104

chamber and band

–	Scherzo, D, pf qt, 1871
7	Piano Quartet, a, 1878–88
24	Suite dans le style ancien, D, tpt, 2 fl, str qt, 1886
29	Trio, B, cl/vn, vc, pf, 1887
35	String Quartet no.1, D, 1890
45	String Quartet no.2, E, 1897
–	Mosaïque sur Fervaal, military band, 1897
50	Chansons et danses, wind insts, 1898
54	Marche du 76ème régiment d’infanterie, military band, 1903
59	Sonata, C, vn, pf, 1903–4
–	Trois petites pièces, 1907-?1915: 1, D, fl, pf; 2, B, cl, pf; 3, F, hn, pf
–	Rondino, 4 tpt, completed 1911
72	Sarabande et menuet, wind qnt, 1918 [arr. from op.24]
81	Piano Quintet, g, 1924
84	Sonata, D, vc, pf, 1924–5
91	Suite, fl, str trio, hp, 1927
92	Sextet, B, 2 vn, 2 va, 2 vc, completed 1927
96	String Quartet no.3, D, 1928–9
98	Trio, G, pf trio, 1929
–	String Quartet no.4, 1931, inc.

songs

for one voice, piano unless otherwise stated

–	Angoisse (F. Bazenery), 1869–71; Marche du panache à la grande maréchale V.I. (d’Indy), ?1871–2; Adieu (H. Musset), completed 1872
3	Attente (Hugo), completed 1871, MS marked op.6
4	Madrigal (de Bonnières), completed 1872
10	Plainte de Thécla (de Bonnières, after Schiller), 1880
11	Au galop (Mélodie espagnole) (de Bonnières), 1876–9
13	Clair de lune (Hugo), S, pf, 1872, orchd 1881
20	L’amour et le crane (C. Baudelaire), 1884
–	L’Académie Française nous a nommés tous trois (?d’Indy), 1888, pubd in review Cent moins un (1888)
–	[29] Chansons populaires du Vivarais et du Vercors, 1892
–	Deux chansons enfantines, 1896 [harmonization], pubd in L’âme enfantine, ed. M. Legrand (Paris, 1897), 38, 84
43	Lied maritime (d’Indy), 1896
48	La première dent (J. de La Laurencie), 1898
52	[88] Chansons populaires du Vivarais, i, 1900
56	Mirage (P. Gravollet), 1903
58	Les yeux de l’aimée (d’Indy), 1904
64	Vocalise, 1907
–	Six chansons anciennes du Vivarais, 1926
–	Ariette pour Tina (d’Indy), 1927
94	Madrigal à deux voix (Charles d’Orléans), S, vc, completed 1928
101	[50] Chansons populaires du Vivarais, ii, 1930
–	Cinq chansons folkloriques et deux rigaudons à une voix, c1931

keyboard

piano

1	Sonata, c, 1869
–	Quatre romances sans paroles, 1870, no.4 withdrawn
9	Petite sonate dans la forme classique, 1880
15	Poème des montagnes, sym. poem, 1881
16	Quatre pièces, 1882
17	Helvétia, 3 waltzes, 1882
26	Nocturne, 1886
27	Promenade, 1887
30	Schumanniana, 3 chants sans paroles, 1887
33	Tableaux de voyage, 13 pieces, 1889
60	Petite chanson grégorienne, 4 hands, 1904
63	Sonata, E, 1907
65	Menuet sur le nom d’Haydn, 1909, pubd in BSIM, vi (1910), Jan
68	Treize pièces brèves, 1908–15
69	Douze petites pièces faciles dans le style classique de la fin du XVIIIe siècle, 1908–15
73	Sept chants de terroir, 4 hands, 1918
74	Pour les enfants de tous les ages, 24 pieces, 1919
85	Thème varié, fugue et chanson, 1925
86	Contes de fées, 5 pieces, 1925
95	Six paraphrases sur des chansons enfantines de France, 1928
99	Fantaisie sur un vieil air de ronde française, 1930
Also arrs. for 4 hands of op.6, 1876; op.54, 1903; op.77, 1922

organ and harmonium

38	Prélude et petit canon à trois parties, org, 1893
51	Vêpres du commun des martyrs, org, 1899
66	Pièce, e, hmn, 1911, pubd for org (1912) and as Prélude (1913)

educational

71	Cent thèmes d’harmonie et réalisations, 1907–18
–	Cinq cents exercices de lecture pour alto (1925), collab. A. Parent
–	Cinq cents exercices de lecture pour violon (1926)
–	Cinq cents exercices de lecture pour violoncelle (1926)
See also chbr and pf works

editions and arrangements

opera editions

A.-C. Destouches: Les éléments

C.W. Gluck: Iphigénie en Aulide, 1908; L’ivrogne corrigé

C. Monteverdi: L’incoronazione di Poppea (Paris, c1904); Orfeo (Paris, c1904); Il ritorno d’Ulisse in patria(Paris, c1904)

J.-P. Rameau: Hippolyte et Aricie (Paris, c1902); Dardanus(Paris, c1905); Zaïs (Paris, c1911)

other works

E. Chausson: Viviane, op.5, pf red. completed; Chant funèbre, op.28, orchd, 1914; String Quartet, op.35, movt 3 completed, c1899, pf 4 hands red. completed

G. Lekeu: Cello Sonata, Piano Quartet, both completed

Edns and transcrs. of works by Arcadelt, J.S. Bach, Janequin, Rossi, F.W. Rust, Senaillé, Torelli, Vecchi, Vivaldi

Arrs. and orchestrations of works by C. Benoit, A. de Castillon, H. Duparc, A. Rubinstein

MSS in F–Pn, Les Faufs

Principal publishers: Durand, Hamelle, Heugel

Indy, Vincent d’

WRITINGS

Histoire du 105ème Bataillon de la Garde nationale de Paris, en l’année 1870–71 (Paris, 1872)

Projet d’organisation des études du Conservatoire de Musique de Paris (Paris, 1892)

De Bach à Beethoven (Paris, 1899)

Une école de musique répondant aux besoins modernes: discours d’inauguration de l’école de chant liturgique … fondée par la Schola Cantorum en 1896 (Paris,1900)

Cours de composition musicale (Paris, 1903–50) [vol.iv ed. G. de Lioncourt]

César Franck (Paris, 1906; Eng. trans., 1910/R)

Beethoven (Paris, 1911; Eng. trans.,1913/R)

Emmanuel Chabrier et Paul Dukas (Paris, 1920)

La Schola Cantorum: son histoire depuis sa fondation jusq’au 1925 (Paris, 1927)

Richard Wagner et son influence sur l’art musical français (Paris, 1930)

Introduction à l’étude de ‘Parsifal’ de Wagner (Paris, 1937) [inc.]

Many articles in Le Figaro (1892–1900), Guide musical (1897–1904), Tribune de St Gervais (1897–1909), L’art moderne (Brussels, 1900–03), Musica (1902–13), Courrier musical(1902–31), Comoedia (1907–28), BSIM (1909–14), Tablettes de la Schola (1909–24)

Indy, Vincent d’

BIBLIOGRAPHY

monographs and collections of articles

A. Sérieyx: Vincent d’Indy (Paris, 1913)

L. Borgex: Vincent d’Indy: sa vie et son oeuvre (Paris, 1914)

C. Saint-Saëns: Les idées de M. Vincent d’Indy (Paris, 1919)

ReM, no.122 (1932) [d’Indy issue]

M.M. de Fraguier: Vincent d’Indy: souvenirs d’une élève, accompagnés de lettres inédites du maître (Paris, 1934)

‘Autour de Vincent d’Indy’ ReM, no.178 (1937) [d’Indy issue]

A. Gabeau: Auprès du maître Vincent d’Indy: souvenirs des cours de composition (Paris, 1938)

L. Vallas: Vincent d’Indy: la jeunesse (1851–86), i (Paris, 1946)

L. Vallas: Vincent d’Indy: la maturité, la vieillesse (1886–1931), ii (Paris, 1950)

J. Canteloube: Vincent d’Indy (Paris, 1951)

N. Demuth: Vincent d’Indy, 1851–1931, Champion of Classicism (London, 1951)

J. and F. Maillard: Vincent d’Indy, le Maître et sa musique (Zurfluh,1994)

A. Thomson: Vincent d’Indy and his World (Oxford, 1996)

other literature

H. Imbert: ‘Vincent d’Indy’, Profils de musiciens (Paris, 1888); Eng. trans. in Studies in Music, ed. R. Grey (London, 1901), 110–23

Willy [H. Gauthier-Villars]: Lettres de l’ouvreuse (Paris, 1890)

J.G. Ropartz: Notations artistiques (Paris, 1891)

A. Bruneau: Musiques d’hier et de demain (Paris, 1900)

L. Laloy: ‘Une nouvelle école de musique: le cours de M. Vincent d’Indy’, RHCM, i (1901), 393–8

C. Debussy: ‘L’étranger, à Bruxelles’, Gil Blas (12 Jan 1903)

R. Rolland: Paris als Musikstadt (Berlin, 1904)

L. Laloy: ‘Le drame musical moderne: Vincent d’Indy’, BSIM, i (1905), 8–16

M.D. Calvocoressi: ‘M. Vincent d’Indy’, SIMG, vii (1905–6), 310–14

R. Rolland: ‘Vincent d'Indy’, Musiciens d’aujourd’hui (Paris, 1908; Eng. trans., 1915/R), 97–118

P. Lalo: ‘Les jeunes musiciens et l’enseignement de M. Vincent d’Indy’, Le temps (23 March 1909)

E. Vuillermoz: ‘La Schola et le Conservatoire’, Mercure de France, lxxxi (1909), 234–43

J. de La Laurencie: ‘Quelques souvenirs vivarois sur Vincent d’Indy’, Revue du Vivarais, (1932), March–April 7–19

C. Photiadès: ‘Vincent d’Indy’, Revue de Paris, xxxix (1932), 45–69

P. Dukas: Les écrits de Paul Dukas sur la musique (Paris, 1948)

E. Vuillermoz: ‘Vincent d’Indy et ses élèves’, Histoire de la musique (Paris, 1949), 312–15

N. Demuth: ‘Vincent d’Indy: 1851–1931–1951’, Music Survey, iii (1950–51), 154–60

C. Boller: ‘Quelques souvenirs sur Vincent d’Indy’, Feuilles musicales, iv (1951), 61–4

J. d’Indy: ‘Vincent d’Indy en famille’, Revue internationale de musique, no.10 (1951), 325–31

N. Dufourcq: Autour de Coquard, César Franck et Vincent d’Indy (Paris, 1952)

E. Lockspeiser: ‘Vincent d’Indy’, The Music Masters, iii, ed. A.L. Bacharach (London, 1952, 2/1958), 181–5

A. vander Linden, ed.: ‘Lettres de Vincent d’Indy à Octave Maus’, RBM, xiv (1960), 87–125; xv (1961), 55–160

P. Le Flem: ‘Vincent d’Indy, tel que je l’ai connu’, Musica-disques, no.93 (1961), 11–15

M.L. Sérieyx, ed.: Lettres à Auguste Sérieyx ([from] Vincent d’Indy, Henri Duparc, Albert Roussel) (Lausanne, 1961)

L. Davies: ‘The French Wagnerians’, Opera, xix (1968), 351–7

L. Davies: César Franck and his Circle (London, 1970/R)

A. Balsan: ‘L’hérédité Drômoise de Vincent d’Indy: notes généalogiques’, Revue Drômoise, no.421 (Oct 1981), 373–7

S. Giocanti: ‘Vincent d’Indy et le régionalisme musical’, France Latine, no.113 (1991), 81–104