Vincent
d’Indy's
"Tableaux de Voyage"
©
2006 by
Don
Robertson
Introduction
written by Don Robertson for the score published by Musikproducktion
Höflich. The score is available from that company
-
CD
of "Tableaux de Voyage" at Amazon.com
-
This
article in German
Vincent d'Indy
An amazing era in classical music took place during the
19th century. The first performance of Beethoven's
revolutionary third symphony, the Eroica on April 7, 1805, was the signal that an era of romantic
music had begun. Masterworks continued to flow from the
pens of many composers: Schumann, Schubert, Mendelssohn,
Brahms, Dvorak, Tchaikovsky, Wagner, Franck and Bruckner,
among them. The era continued through the century, its end
finally arriving with Arnold Schönberg's romantic
masterpiece Gurreleider,
composed in 1900. This huge orchestral and choral
composition sounded the death knell for the romantic era
as Schönberg will lead the way from light to darkness,
abandoning the universal principals of harmony and the
overtone series in his pursuit of what he considered to be
the next evolution in music.
While many composers followed Schönberg
on the road to discordant harmonies and atonality, some
did not. Among the detractors was
Vincent d'Indy.
According to Andrew Thomson, in his book Vincent
d'Indy and His World, d’Indy called Schönberg
"a madman who teaches nothing except that you should
write everything that comes into your head...His work..is
no more than a mass of meaningless notes." On another
occasion, Honegger suggested to d'Indy that Schoenberg's
music was to be read, rather than to be heard, to which
d'Indy replied: "These noises don't interest me on
paper any more than they do in the atmosphere." He
had no sympathy for discordant music. He considered
"modernist" Edgard Varese, who was a student at
the Schola Cantorum, a dishonor to the teaching of the
school.
But now that the discordant storm
clouds of twentieth century music have passed and a new
century has arrived, orchestras and lovers of great music
are looking for new music, and as interest grows in the
work of some of the composers whose recognition was lost
in the confusion of atonality, Vincent d’Indy begins to
surface on radar screens. 21st Century concert halls are
due for a reform, and first in line should be the works of
César
Franck and the group of composers that he nurtured, the
most important being Ernest Chausson, Vincent d'Indy and
Henri DuParc. Theirs was a spiritual music that did not
resonate in the dark milieu of the twentieth century.
Vincent d’Indy (1851-1931), was born and raised
in Paris. In 1872, he enrolled in César
Franck’s organ class at the Conservatoire, and soon
Franck, who taught a group of young French composers in
his home, became d’Indy’s mentor and composition
teacher.
d’Indy’s musical interests distanced him from
the formal instruction that was being served at the
Conservatoire, and in 1896, in conjunction with Charles
Bordes and Félix-Alexandre Guilmant, he founded a new
music school, the Schola Cantorum, becoming its first
director. The mission of the Schola was to forge a return
to the tradition of Gregorian chant and music in the style
of Palestrina, with new music inspired by these
traditions, and to reform the system of music education
then in place in French schools. d’Indy wrote a complete
course of composition that started with Gregorian chant
and continued historically through to the music of the
composers of his time, as d’Indy was in complete support
of both Debussy and Ravel. d’Indy remained the director
of the Schola Cantorum until his death in 1931. The Schola
remains today a highly regarded institution.
d’Indy has left us with an awesome legacy of
music: sonatas, piano and organ works, symphonies, operas,
orchestra works, chamber and choral works. Additionally,
he wrote articles about music, and books about Franck,
Beethoven and Wagner. He had a passion for studying and
performing the great composers of the past as he, like
Brahms, learned from and supported the music of the
masters that proceeded him. He wrote piano transcriptions
and orchestral revisions for works by the french baroque
composers Jean-Philippe Rameau and André-Cardinal
Destouches, the Norwegian composer Johan Svendsen, and his
friends DuParc and Chausson. His modern transcriptions of
two great Monteverdi operas, Le Couronnement de Poppée and Orfeo,
are still in general use today. Among the students who
benefited from his teaching were Joseph Canteloube, Erik
Satie, René de Castera, Albert Roussel, Marcel Labey, Guy
de Lioncourt, Déodat de Séverac, Isaac Albeniz, Joaquin
Nin, Carlo Boller, Henri Gagnebin, Arthur Honegger, and
Darius Milhaud.
Tableaux de Voyage
The beautiful symphonic composition Tableaux
de Voyage is a fine example of Vincent d'Indy's
genius, and also a wonderful example of his use of the
cyclic technique (l'unite
cyclique dans l'oeuvre d'art) that he so greatly
expounded during his lifetime and in his Cours
de Composition Musicale. It is a technique that
incorporates harmonic, rhythmic and melodic material from
different movements, allowing works of music to become
more unified. d'Indy traces the cyclic technique to
Beethoven, but it was first fully developed and expounded
by his teacher, César
Franck.
Tableaux
de Voyage was a result of a trip that d’Indy had
made to Bayreuth in August 1888 to hear Wagner’s Meistersinger
and Parsifal. d’Indy realized his impressions of this trip as a set of
thirteen piano pieces: Tableaux
de Voyage Op. 33, Treize pièces pour piano that Leduc
published during the following year. Subsequently he
orchestrated six of the thirteen pieces, and these were
published by Leduc in 1891 as Tableaux
de Voyage Op. 36, suite d'orchestre en 6 parties. The
work was first performed on 17January, 1892 at Havre, then
soon after at Angers.
Rather than describe only
the six pieces contained in the orchestral score, I will
present all thirteen pieces because they form a whole,
even though d'Indy, for one reason or another, did not
orchestrate all of them.
1
- Préamble
- d'Indy designated the first of the thirteen piano pieces
simply as préamble.
The name was changed to Préamble
in the orchestral score, however. The time signature for
préamble is 5/8, a very rare occurance in 19th Century
music. The piece begins with a six-bar introduction
employing four chords: C minor and Ab minor played twice:
a harmonic motive that will reoccur later. Following the
four-chord introduction, what d'Indy refers to as the préamble
theme is announced by clarinet, followed by a
variation, a middle section, then a repetition of the
seven-note theme. This time, however even though the 5/8
time signature is preserved, the melody is actually in
4/8. A motive,
based on the préamble theme, will have its way throughout
the course of Tableaux de Voyage.
2
- En marche
(Walking), is a stunning programmatic musical portrait.
d'Indy may have conceived of this delightful tune while
walking through the alpine hinterlands. Listening to this
finely orchestrated piece one can perhaps visualize
d'Indy's adventure. In the sixth measure from the end,
d'Indy reintroduces the so-called préamble motive (the first five notes of the theme
from the first piece) in half-notes (F, Ab, Cb, C, F),
carefully making note of this in the original piano score,
apparently to help show the pianist the way in which he
reuses melodies. The F note in this case is on the tonic
(in the first movement the corresponding note was the
major third).
3
- Pâturage
(Pasture) is the first of the seven pieces that were not
included in the orchestral version of Tableaux. I will
briefly describe these to give the reader a better
understanding of the whole work.
Marked doux, Pâturage is an idyllic piece in ¾ time using a melody that
creates a contrasting hemiola
feel of 3/2 time.
4
- Lac vert -
(Green Lake) describes a serene lakeside view most likely
inspired by beautiful Lac Vert close to the franco-swiss
border, high in the Alps near Mont Blanc. Lac vert appears in the orchestral set, following the next piece, Le
glas, but it is the other way around in the piano
version.
5
- Le glas (The
bell’s knell). A new melody is presented in two periods,
then d’Indy brings back material from the préamble). At
measure 17 we discover the four-chord introduction
reorchestrated and now in the key of G#. The first and
third chord contains no third; parallel fifths in the base
keep a consistency with those used in the first period of
the theme. The four-chord motive is followed by the first
four notes of the préamble motive similarly harmonized
using fifths. The Le glas theme is then again presented in two periods, followed by a
coda based on the four-chord motive.
6
- La poste
(Mail coach). Here d'Indy paints a picture of one of the
ubiquitous mail coaches employed in Europe during his
time. Postilions (who guided the horses that were drawing
the coach) used a small brass horn to signal the arrival
the mail. Use of the horn was obligatory for the postilion,
who had to know at least eight signals, each with a
particular meaning. The post horn was in constant use in
Europe for several centuries.
The
remaining pieces in the set, with exception of
Rêve, the final piece, were not orchestrated. We will
speak of them briefly.
7
- Fete de village
(Village festival) is a lively waltz-tempo piece that
incorporates the préamble motive into the end of each of
the piece's two sections.
8
- Halte, au soir
(Resting place in the evening) is a short piece in 4/4
time.
9
- Départ matinal
(Morning departure) is an animated piece in 3/4 time.
Written in ternary form, the middle section is a new
presentation of the préamble melody, not just a four- or
five-note motive, but the entire melody, but in ¾ (6/8)
this time (instead of 5/8). d’Indy concludes this piece
with a coda based on a combination of the préamble theme
and one of the motives from the main section of the piece.
10
- Lermoos is a
small rustic Austrian village overlooked by the Zugspitze.
Marked plutôt lent,
this lovely piece was inspired by d'Indy's visit to this
beautiful location. The middle section is based on the préamble
theme.
11
- Beuron. To
capture the spirit of this German town, d'Indy composed a
Bach-like chromatic fugue, or at least the beginnings of
one. The first four notes contain three notes of the préamble
theme, another overall unifying factor in the cyclic
technique. Following the exposition is an episode built on
melodic sequences, then there follows a freeform
counterpuntal section that presents the melody of the
fugue along with two counter melodies, one of them being
the B.A.C.H. (Bb, A, C, B) motive that the master himself employed in Die
Kunst Der Fuge. d'Indy carefully indicates in the
piano score the four places where he employs this motive.
12
- La pluie (rain)
is a somewhat impressionistic soundpainting of a beautiful
scene with falling rain.
13
- Rêve (dream).
With this piece we return to the orchestral version, as
this is the last piece in both it and the set of piano
pieces. d'Indy has now returned to his home and reflects
upon his now completed journey. Rêve is based on
remembrances of the places that he experienced. It begins
with the C min/Ab minor chords from the first four bars of
the first préamble piece, bringing us full circle. From
this Rêve flows
into an expressive string setting that is suggestive of a
dreaming state, and perhaps loosely based on the préamble
motive. This is followed by a short segment of music taken
from Le Glas with the original slow melody now played
quickly with stacatto notes. The music drifts back into
the dreaming melody again followed by a section based on
Lac Vert, then the dreamy music again, this time
orchestrated with woodwinds, horn and pizz strings instead
of the lush string orchestration of before. Finally we
have a reiteration of the full préamble theme in 5/8 as
presented at the very beginning of the the préamble,
followed by a coda based on the dreamy material, and a
quote of the préamble motive prominently played by the
low strings. The piece then comes to an end.
©
2006 by
Don
Robertson
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