Vincent d’Indy
Sextet for Strings in Bflat Op.92
Vincent d'Indy's String Sextet exudes a surprising youthful exuberance, belying the fact that it was composed when d'Indy was seventy-six. This contradiction underscores the profound shift in his musical style following his retirement and relocation from Paris to the serene south of France. Here, d'Indy's compositions transformed, becoming more straightforward, spirited, and radiantly cheerful.
Vincent d'Indy's life reads like a novel. Born in 1851 into an aristocratic family, his musical talent was nurtured by his grandmother, who arranged piano lessons with illustrious teachers. Despite these early musical influences, d'Indy was initially steered towards law school in Paris. His passion for music, however, was undeniable. He joined a Parisian orchestra as a timpanist, determined to master music from the ground up.
D'Indy's early compositions caught the attention of celebrated composers Massenet and Bizet, who encouraged him to seek mentorship from César Franck. Though Franck initially critiqued his technical skills, he saw enough promise to take d'Indy under his wing. Franck's influence became the most defining in d'Indy's development as a composer. D'Indy's own legacy was cemented with the founding of the Schola Cantorum in 1900, a music school that rivaled the Paris Conservatory in prestige.
The String Sextet, structured as a suite, showcases d'Indy's mature mastery. The opening movement, "Entrée en Sonate," features a bright and formal introduction, leading into three intertwined melodies. The second movement, "Divertissement," is an energetic scherzo that captivates with an unexpected, eerie interlude using harmonics and ponticello. The final movement (which we are not performing tonight), "Thème, Variations et Finale," begins with a slow, tentative melody, unfolding through several ingenious and contrasting variations. I highly recommend listening to this work in completion!
In comparing d'Indy's sextet to those by Schoenberg and Tchaikovsky, intriguing parallels emerge. Schoenberg's "Verklärte Nacht" is a landmark of late-Romantic intensity and complexity, while Tchaikovsky's "Souvenir de Florence" brims with lyrical warmth and Russian folk influences. D'Indy's sextet, while perhaps less well-known, shares the brilliance and inventiveness found in these works. His "Entrée en Sonate" mirrors the thematic integration seen in Schoenberg's sextet, while the lively and contrasting movements recall the vivacity and emotional depth of Tchaikovsky's composition.
D'Indy's String Sextet is a gem in the repertoire, a bright and appealing modern French work. It promises to enchant both professional musicians and amateur enthusiasts, drawing them into its vivid, youthful spirit and masterful composition. Just as Schoenberg and Tchaikovsky's sextets have captivated audiences with their unique charms, d'Indy's sextet stands poised to win hearts and minds with its radiant appeal and sophisticated craftsmanship.
Piotr Ilyich Tchaikovsky
Souvenir de Florence, Op. 70
With a torrential opening the music surges forth in an exhilarating flood. The tempestuous lower strings churn and heave, casting the first violin about like a small boat in a storm-tossed sea.
Tchaikovsky adored Italy. Escaping the harsh Russian winters, he sought refuge in the warmth of Rome, Florence, and Venice, captivated by the sunny skies, the vibrant street music, and the allure of the local beauty.
“I am under a clear blue sky,” he wrote, “where the sun is shining in all its magnificence. There’s no question about rain or snow, and I go out wearing nothing but a suit … a magical shift is finally happening to me.”
By 1890, the forty-something Tchaikovsky had finally achieved international fame. He was at the peak of his powers, pouring his full emotional self into every bar he wrote, not knowing that he had just three years left to live.
In Florence, he scratched out a simple duet for violin and cello. This germ gave birth to Souvenir de Florence.
The title can mislead. In English, a “souvenir” is a physical object, kept as a reminder. In French, the word has a slightly different meaning. Souvenir is closer to “remembrance,” to “memory.”
Tchaikovsky found the relatively unusual form—two violins, two violas, two cellos— challenging. “There must be six independent and at the same time homogeneous parts,” he wrote. “It is frightfully difficult!”
His finished work balances these opposing forces: filling the hall with the weight of a much larger ensemble, each musician is pushed to play with the boldness of a soloist. Tchiakovsky’s music pulses with intensity, allowing no real moment of rest for any of the players.
Tchaikovsky’s mother tongue is never far away. “Italy is beginning to cast her magic spell on me,” he wrote on one early trip. “But in spite of the enjoyments of life in Italy, in spite of the good effect it has upon me—I am, and shall ever be, faithful to my Russia.” Tchaikovsky’s verdict on his work? “It's frightening to see,” he wrote, “how pleased I am with myself.”
Arnold Schoenberg
Verklärte Nacht, Op. 4 (“Transfigured Night)
Composer Arnold Schoenberg has been a figure of controversy for about a century. His work has sparked endless discussions, books, and debates, even after his death in 1951. This ongoing attention shows the profound impact and complexity of his genius, which has been both criticized and celebrated by experts and casual listeners alike.
The mixed opinions about Schoenberg stem from his sharp intellect, strong personality, and uncompromising views in his theoretical writings. Schoenberg wasn't just a groundbreaking composer; he was also a respected theorist, teacher, painter, and librettist. Despite being largely self-taught and coming from a modest background, his confidence and boldness in his music make people either admire or resent him. He didn't pander or compromise, which has kept the debates about his work alive.
Schoenberg's ideas were shaped by the intense cultural debates in early 20th-century Vienna, a city proud of its musical heritage but also grappling with modernist ideas. Many modern artists and thinkers rejected what they saw as a decaying, commercialized culture. Schoenberg sided with the modernists, defending this stance through his music and writings for many years.
In addition to these broader cultural battles, Vienna's musicians were split over whether Brahms or Wagner was the more innovative composer. Brahms focused on pure, abstract music, while Wagner's music included extra-musical elements like stories and themes.
Schoenberg composed "Transfigured Night" in this environment between September and December 1899. Before this, he wrote pieces influenced by Brahms' emphasis on musical structure. However, in 1898, he discovered the poetry of Richard Dehmel, which inspired him to blend Brahms' techniques with Wagner's expressiveness. In a letter to Dehmel, Schoenberg credited these poems with helping him find a new musical voice.
"Transfigured Night" is based on one of Dehmel's poems, which tells a story in a structured format. The poem describes a woman telling a man she's pregnant by another man, and the man's compassionate response. This narrative of conflict and resolution is reflected in Schoenberg's music, which mirrors the poem's themes while also innovating with new lyrical forms.
Schoenberg's composition doesn't just follow the poem; it transcends it. He uses musical themes representing the woman, man, and narrator, and develops them in a way that blends Brahms' and Wagner's approaches. In doing so, he not only illustrates the poem's message but also expresses his own artistic vision, resolving the Brahms/Wagner debate for himself.
A connection can be made to Piotr Ilyich Tchaikovsky's "Souvenir de Florence," Op. 70, composed in 1890. Tchaikovsky's work, although rooted in a more romantic and traditional style compared to Schoenberg's modernist tendencies, also deals with themes of emotional depth and complex human relationships. "Souvenir de Florence," like "Transfigured Night," showcases the composer's ability to weave intricate musical narratives. Both pieces highlight the contrast and eventual synthesis of different musical ideas and emotions, bridging personal expression with broader artistic movements. While Tchaikovsky's approach remains more melodic and structured, Schoenberg's work pushes boundaries, reflecting the evolving landscape of classical music from the late 19th to early 20th centuries. This juxtaposition underscores the diverse paths composers have taken to explore and express the human condition through music.
Verklärte Nacht
"Transfigured Night"
By: Richard Dehmel
Two people are walking through a bare, cold wood;
the Moon keeps pace with them and draws their gaze.
The Moon moves along above tall oak trees,
there is no wisp of cloud to obscure the radiance
to which the black, jagged tips reach up.
A woman's voice speaks:
"I am carrying a child, and not by you.
I am walking here with you in a state of sin.
I have offended grievously against myself.
I despaired of happiness,
and yet I still felt a grievous longing
for life's fullness, for a mother's joys
and duties; and so I sinned,
and so I yielded, shuddering, my sex
to the embrace of a stranger,
and even thought myself blessed.
Now life has taken its revenge,
and I have met you, met you."
She walks on, stumbling.
She looks up; the Moon keeps pace.
Her dark gaze drowns in light.
A man's voice speaks:
"Do not let the child you have conceived
be a burden on your soul.
Look, how brightly the universe shines!
Splendour falls on everything around,
you are voyaging with me on a cold sea,
but there is the glow of an inner warmth
from you in me, from me in you.
That warmth will transfigure the stranger's child,
and you bear it me, begot by me.
You have transfused me with splendour,
you have made a child of me."
He puts an arm about her strong hips.
Their breath embraces in the air.
Two people walk on through the high, bright night