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Journal articles on the topic 'Vincent d'Indy'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Huebner, Steven. "‘Striptease’ as Ideology." Nineteenth-Century Music Review 1, no. 2 (November 2004): 3–24. http://dx.doi.org/10.1017/s1479409800001336.

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Vincent d'Indy's Istar (1897), a set of variations for orchestra, commands attention for its unusual ground plan: the variations proceed from complex textures to simple ones. Analysis reveals how certain melodic and harmonic details unfold at larger structural levels. Istar's symmetries and organic construction are set in the context not only of previous variation sets but also of Debussy's Prélude à l'après-midi d'un faune, a symphonic poem of similar dimensions that was premiered shortly before d'Indy composed his piece. Resemblances between the two works suggest that d'Indy may have intended Istar as a response to Debussy. Juxtaposition of Debussy and d'Indy provides insight into the different connotations of modernity at the fin de siècle. Istar's programme and compositional strategies reflect d'Indy's firm historicism and commitment to tradition. Yet the work was received as experimental and daring in its day. In its materials Istar paradoxically illustrates a ‘backward progression’: its stylistic allusions move backward in time, yet the tonal direction aims forward towards the concluding tonic. Such idiosyncrasies provide insight into d'Indy's aesthetics and ideology, which sought to conflate commitment to progress with adherence to Faith.

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2

Smith, Richard Langham, and Andrew Thomson. "Vincent d'indy and His World." Modern Language Review 93, no. 2 (April 1998): 519. http://dx.doi.org/10.2307/3735422.

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3

Hart, Brian J., and Andrew Thomson. "Vincent d'Indy and His World." Notes 54, no. 4 (June 1998): 923. http://dx.doi.org/10.2307/900077.

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4

Fulcher, Jane. "Vincent d'Indy's ‘Drame Anti-Juif’ and its meaning in Paris, 1920." Cambridge Opera Journal 2, no. 3 (November 1990): 295–319. http://dx.doi.org/10.1017/s0954586700003293.

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On 6 June 1920, a work premièred at the Paris Opéra and, unlike others preceding it that season, met with general approbation in the press. Despite reservations, newspapers as well as political and musical journals pronounced the opera sincere, deeply religious, an ‘oeuvre de foi’. The composer–librettist, Vincent d'Indy, must have been both pleased and perplexed by such praise, for he had originally conceived the work as a trenchant political critique. As planned in 1903, the opera was to show, in d'Indy's words, ‘the nauseating Judeo-Dreyfusard influence’ within a legend that accommodated this message.

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5

Thomson, Andrew, Quatuor Prat, Jean Dupouy, Francois Michel, Kun Woo Paik, Regis Pasquier, Bruno Pasquier, Roland Pidoux, and Huseyin Sermet. "Vincent D'Indy: Deuxieme Trio; Deuxieme Quatuor; Sextuor." Musical Times 134, no. 1803 (May 1993): 282. http://dx.doi.org/10.2307/1002458.

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6

Proksch, Bryan. "Vincent d'Indy as Harbinger of the Haydn Revival." Journal of Musicological Research 28, no. 2-3 (April 30, 2009): 162–88. http://dx.doi.org/10.1080/01411890902913131.

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7

Schwartz, Manuela. "Symbolic structures and elements in the operaFervaalof Vincent d'Indy." Contemporary Music Review 17, no. 3 (January 1998): 43–56. http://dx.doi.org/10.1080/07494469800640191.

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8

Pasler, Jann. "Deconstructing d'Indy, or the Problem of a Composer's Reputation." 19th-Century Music 30, no. 3 (2007): 230–56. http://dx.doi.org/10.1525/ncm.2007.30.3.230.

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Perhaps more than any of his contemporaries in turn-of-the-century France, the composer Vincent d'Indy fashioned an identity based on opposition. Understanding the dynamic of oppositional politics, he defined himself, his music, and the music school he directed, the Schola Cantorum, through difference. This has led both his successors and his critics up through the present to associate him with defiant ultra-conservatism. However, d'Indy was also a man of alliances, alliances that served the composer and the state well. In "Deconstructing d'Indy," I throw into question the attitudes that have accumulated about him and suggest a more nuanced view of the man and his politics based on his practices, particularly before 1900. I show how he allowed government officials to use his difference to help them combat monopolies and bridge conflict with the Republic. The article argues that in misconstruing the nature and function of political differences in France and their relationship to reputation-building strategies, we risk substituting ideology and our own projections of its meaning for a composer's identity and importance in his or her times.

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9

Gibbons, William. "Iphigénie à Paris: Positioning Gluck Historically in Early Twentieth-Century France." Articles 27, no. 1 (September 13, 2012): 3–15. http://dx.doi.org/10.7202/1013158ar.

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In December 1907, Gluck's opera Iphigénie en Aulide was produced in Paris at the Opéra-Comique, the last of his major operas to be revived in France. The ensuing critical reception pitted Vincent d'Indy, who harshly criticized the production, against its director, Albert Carré; d'Indy further responded by conducting the overture to Iphigénie only a few weeks later as a musical corrective to the performance at the Opéra-Comique. This unusual event highlights the historiographie problem Gluck presented to early twentieth-century critics in France: did his music look backwards to the tragédies lyriques of Lully and Rameau, or did it prefigure the Wagnerian music-dramas of the nineteenth century? The 1907 Opéra-Comique production of Iphigénie and its aftermath encapsulate the struggle to incorporate Gluck into newly developing and often competing narratives of music history.

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10

WHEELDON, MARIANNE. "Debussy and La Sonate cyclique." Journal of Musicology 22, no. 4 (2005): 644–79. http://dx.doi.org/10.1525/jm.2005.22.4.644.

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ABSTRACT In 1915, Debussy returned to the genre of chamber music for the first time since the String Quartet of 1893 and composed the only sonatas of his career. What draws these early and late chamber works together is that they are all cyclic in construction. While Debussy's quartet clearly bears the imprint of Céésar Franck's cyclic procedures, his sonatas engage with this tradition more cautiously. Comparing the string quartet with the sonatas elucidates Debussy's uneasy rapprochement with a style he had formerly embraced. Debussy's underplaying of the cyclic tradition was motivated by what the cyclic sonata had come to represent in the intervening years, in particular its appropriation by Franck's student Vincent d'Indy. In his teachings and publications, d'Indy promulgated a nationalistic view of the cyclic sonata, one that declared Franck and the modern French school as the only comprehending heirs of Beethoven. Reluctant to participate in this particular heritage, Debussy diverted attention from the cyclic procedures used in the sonatas by explicitly emphasizing their stylistic affiliation with the French 18th century and by implicitly aligning himself with Franck rather than with d'Indy. In this way Debussy sought to carve out a place for his sonatas within a less contentious tradition.

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11

Sadler, G. "Vincent d'Indy and the Rameau Oeuvres completes: a case of forgery?" Early Music XXI, no. 3 (August 1, 1993): 415–22. http://dx.doi.org/10.1093/em/xxi.3.415.

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12

Thomson, Andrew, Catherine Collard, Orchestre Philharmonique de Radio France, Marek Janowski, Orchestre Philharmonique de Monte Carlo, and Marius Constant. "Vincent d'Indy: Jour d'ete a la montagne; Symphonie sur un chant montagnard 'Cevenole'." Musical Times 134, no. 1801 (March 1993): 154. http://dx.doi.org/10.2307/1193870.

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13

Hart, B. "Vincent d'Indy et son temps. Ed. by Manuela Schwartz with the assistance of Myriam Chimenes." Music and Letters 89, no. 2 (May 1, 2008): 261–66. http://dx.doi.org/10.1093/ml/gcm054.

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14

de Médicis, Catrina Flint. "Andrew Thomson. Vincent d'Indy and His World. Oxford and New York: Clarendon Press, 1996. xv, 220 pp. ISBN 0-19-816220-0 (hardcover)." Canadian University Music Review 20, no. 2 (2000): 125. http://dx.doi.org/10.7202/1014467ar.

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15

Godin, Jon-Tomas. "Vincent d'Indy et son temps. 2006. Dirigé par Manuela Schwartz. Collection « Musique-Musicologie ». Liège : Mardaga. 391 p. ISBN 2-87009-888-X (couverture souple)." Intersections: Canadian Journal of Music 27, no. 2 (2007): 88. http://dx.doi.org/10.7202/1013116ar.

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16

Keym, Stefan. "Originalität oder Epigonentum?" Die Musikforschung 51, no. 1 (September 22, 2021): 34–46. http://dx.doi.org/10.52412/mf.1998.h1.921.

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Julius Reubkes <Klaviersonate> gilt als getreues Abbild der <Sonate> h-Moll seines Lehrers Franz Liszt. Tatsächlich unterscheiden sich die beiden Werke deutlich voneinander: sowohl in ihrem Verhältnis zur Sonatenform als auch in Grundstruktur und Abwandlung ihrer Motive sowie der daraus resultierenden Dramaturgie. In der Kombination einer latenten "double-function"-Form mit einem systematisch verwendeten zyklischen Prinzip stellt Reubkes Werk einen originellen Beitrag zur Geschichte der Sonatenform dar, der auf die zyklische Sonate César Francks und die von ihr abgeleitete Theorie Vincent d'Indys vorausweist.

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17

Huebner, Steven. "Review: Wagner‐Rezeption und französische Oper des Fin de siècle: Untersuchungen zu Vincent d'Indys Fervaal." Music and Letters 84, no. 4 (November 1, 2003): 668–70. http://dx.doi.org/10.1093/ml/84.4.668.

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18

Osoka, Olena And. "Mythological spaces in the symphonic works of Vincent d'Indy." National Academy of Managerial Staff of Culture and Arts Herald, no. 4 (November 27, 2018). http://dx.doi.org/10.32461/2226-3209.4.2018.153104.

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