Chapter 15

D'INDY AND THE FOLLOWERS OF FRANCK

Perhaps the noblest essay in symphonic music of the followers of Franck is the second symphony of Vincent D'Indy.[A] His vein is indeed throughout nearest akin of all the disciples to the serious muse of the master.

[Footnote A: Vincent d'Indy was born in Paris on March 27, 1852.]

Though D'Indy is surpassed in a certain poetic originality by some of his compatriot contemporaries, there is in this symphony a breadth of design and detail, a clear melodic quality and a sustained lofty feeling that seem to mark it the typical French symphony of its time. The strength of the work lies in a unity that is not merely of figure and outline. If we must measure a symphony mainly by the slow movement, we cannot avoid, with all the languorous beauty, a certain conventionality of mood, stressed with an exotic use of the appoggiatura, while in the Scherzo is a refined savagery of modern cacophony.

The directions are all in French; we are reminded of Schumann's departure from the Italian fashion.

Each movement, save the third, has its prelude: a gathering of threads before the new story. The first notes of basses, together with the answer on high, sound a prophetic legend of the whole.

The harmonic lucubrations are profoundly subtle. Indeed the very nature of the first phrase is of dim

[Music: _Extrêmémént Lent._ (Woodwind) (Strings and harps)]

groping; it ends in a climax of the answer and merges into the main song of the Allegro (_très vif_) in horns, with rapid trip of strings.

[Music: _Très vif_ (Horns) (Strings)]

Throughout (from a technical view) is a fine mastery of the device of ornamental notes, and secondary harmonies; there is also a certain modern sense of chords and their relations. Together with an infinite brilliance of these resources there is not only no weakness in cogency of form, but there is a rare unity of design. The movements are bound together, at least in themal relation, as strictly as in any symphony. While the first phrase of the Allegro theme may hark back to the answer of original motto, the second is the main thread of narrative.

[Music: (Flutes, oboes and clarinets) _Sempre staccato_]

Again and again is the climax rung on the first high note of the theme. Then, in lieu of cadence, out of a bright dissonance the quick notes dance upward in sturdy pace, the answer of the Allegro in sharp disguise. And then from the height descends a refreshing spray of subtlest discords, ending in another masterful burst of new harmony.

The dainty, dazzling play is stopped by a rough thud of basses and a fierce clang of chords. In the sharp blare of brass on the ascending phrase is almost lost the original motto in lowest basses. It is now heard in gradually quickened speed, while the rising phrase runs more timidly. At last the quickened motto sinks gently into lulling motion, _un peu plus modéré_. Above, in strings and horns, the melody haunts us with a dim sense that takes us to the first languishing answer of the original legend. And the whole is strong-knit; for the very Allegro theme began in resolute mood of a like figure. A counter-strain rises to meet the main phrase. The whole episode is an intertwining of song in the vein of the first answer of motto.

The quick rising notes suddenly return with snatches of the main motive, the chain of echoing phrases runs a gamut of moods, fitful, anxious, soothed, until the bright upward trip begins anew, with the enchanting burst of chord and descending harmonies. A climactic height is stressed by a rough meeting of opposing groups, in hostile tone and movement, ending in a trill of flutes and a reëntry of the episode.

In the returning Allegro the thread is still the same, though richer in color and texture. Again there is the plunge into dark abyss, with shriek of harp, and the ominous theme in the depths. The slow ascending phrase here has a full song and sway. The end is in spirited duet of two quick motives.

The second movement, _modérément lent_, begins in revery on the answer of original motive, and the stately pathos of the theme, in horns, clarinets and violas, with rhythmic strings, grows naturally out of the mood.

_Plus animé_, in subtle change of pace (from 6/4 to 3/2), the episode begins with eccentric stride of harps (and added woodwind), that serves as a kind of

[Music: _Modérément Lent._ (Melody in horns, clarinets and violas) (Acc'd in strings)]

accompanying figure and foil for the sweeping song of the real second melody (in oboe solo, succeeded by the clarinet).

[Music: (Oboe solo) _Très espress._ (Violins) (Acc't in bassoons, horns, harps and basses)]

In the clash of themes and harmonies of the climax, the very limits of modern license seem to be invoked. Later the three themes are entwined in a passage of masterly counterpoint.

There is a touch of ancient harmony in the delicate tune of third movement, which has the virtue of endless weaving. It is sung by solo violin, mainly supported by a choir of lower strings.

A final conclusive line is given by the solo flute. Besides the constant course of varying tune, there is a power of ever changing harmony that seems to lie in some themes.

[Music: _Modéré_ (Viola solo) _Très simplement_]

One can hardly call it all a Scherzo. It is rather an idyll after the pathos of the Andante. Or, from another view, reversing the usual order, we may find the quality of traditional Trio in the first melody and a bacchanale of wild humor in the middle. For, out

[Music: _Très animé_ (Woodwind and strings)]

of a chance phrase of horns grows of all the symphony the boldest harmonic phrase (repeated through ten bars). Above rings a barbarous cry, in defiance of common time and rhythm.

Suddenly we are surprised by the sound of the martial stride of the second theme of the Andante which moves on the sea of rough harmony as on a native element. One whim follows another. The same motion is all there, but as if in shadow, in softest sound, and without the jar of discord; then comes the fiercest clash of all, and now a gayest dance of the first tune, _assez vif_, in triple rhythm, various figures having their _pas seul_. A second episode returns, brilliant in high pace but purged of the former war of sounds. At the end is the song of the first tune, with new pranks and sallies.

The beginning of the Finale is all in a musing review of past thoughts. The shadow of the last tune lingers, in slower pace; the ominous dirge of first motto sounds below; the soothing melody of the Andante sings a verse. In solemn fugue the original motto is reared from its timid phrase to masterful utterance, with splendid stride. Or

[Music: _Modéré et solennel_ (Cellos and basses)]

rather the theme is blended of the first two phrases, merging their opposite characters in the new mood of resolution. The strings prepare for the sonorous entrance of woodwind and horns. One of the greatest fugal episodes of symphonies, it is yet a mere prelude to the real movement, where the light theme is drawn from a phrase of latest cadence. And the dim hue of minor which began the symphony, and all overspread the prelude, at last yields to the clear major. There is something of the struggle of shadow and light of the great third symphony of Brahms.

The continuous round of the theme, in its unstable pace (of 5/4), has a strange power of motion, the feeling

[Music: (Ob.) (Strings)]

of old passacaglia. To be sure, it is the mere herald and companion of the crowning tune, in solo of the reeds.

From the special view of structure, there is no symphony, modern or classic, with such an overpowering combination and resolution of integral themes in one movement. So almost constant is the derivation of ideas, that one feels they must be all related. Thus, the late rush of rhythm, in the Finale, is broken by a quiet verse where with enchanting subtlety we are carried back somewhere to the idyll of third movement.

Above, rises another melody, and from its simple outline grows a fervor and pathos that, aside from the basic themes of the whole work, strike the main feeling of the Finale.

[Music: _Un peu moins vite_]

The martial trip from the Andante joins later in the return of the whirling rhythm. At last the motto strikes on high, but the appealing counter-melody is not easily hushed.

[Music: (Ob.) (Cellos with _tremolo_ violins)]

It breaks out later in a verse of exalted beauty and passion. The struggle of the two ideas reminds us of the Fifth Symphony. At last the gloom of the fateful motto is relieved by the return of the original answer, and we seem to see a new source of latest ideas, so that we wonder whether all the melodies are but guises of the motto and answer, which now at the close, sing in united tones a hymn of peace and bliss.