Only listened to the first movement so far, but wow, I feel like Schönberg must have heard this. A lot of similarities to his first string quartet IMO, which he wrote fifteen years later.
EDIT: Just read this. "While many composers followed Arnold 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." That's crazy to me. This piece sounds so much like early Schönberg to me, and like d'Indy himself came pretty close to the borders of tonality.
@@Maharani1991 Well, it may just be the timeless cycle of ruffling the feathers of your elders when you're young, and becoming like them when you're old. D'Indy's later music is much more conservative.
@@metodoinstinto Me too! And at 2 before J the second violin sounds as though it's anticipating the overture to Donna Dianna (premiered a few years later). Generally you can sure tell that this guy was a pupil of Franck.
Thanks to this channel, I have had the opportunity to listen to quartets 1 and 2 for the first time in my life. Charming works, but never played on our two local classical music stations. Did he ever get around to writing a third one?
+chris ingres Yes you're right, their recordings of d'Indy's 2nd and 3rd quartet have the same problem. Not sure what they did that made it sound like this...
anyway: it's a great pleasure that one can listen (and see) here some fine music that isn't common repertoire in the concert hall. many thanks for your incredible work. -- the toon on your page is funny :D
oh thank you, good stuff, she likes those anteater-like animals :D there's another drawing. funny, they look quite relaxed. so you are also dutch? cu, chris olla-vogala
@@MCMeru The key that the piece ends in isn't particularly relevant in this case. There's a rule taught to music students that the key of a piece can be determined by looking at the beginning and ending sections, but this is actually just a learning tool, and not a reliable method across all music. The act of categorizing music into major and minor keys becomes more and more difficult (and in many cases foolish) the further into the contemporary era you get (in this case 1890 on the cusp of the contemporary era from the romantic era). If a piece of music opens in A minor for 30 seconds, is then in F major for 10 minutes, and then ends back in A minor, in what sense is the piece as a whole really "in A minor". And in the case of the piece above, what happens when it's in a bunch of different keys, and at times not in a key at all? There are many moments in this piece where it can be said that we are in a key, but only in the sense that there is a tonal center. Not in terms of a more general pitch content associated with a key. For example, at 1:26 (rehearsal A) we have clear F#s indicative of major, but we also have Bbs indicative of minor. Raised 3rd degree, but a lowered 6th degree. All this is to say that it's not quite as simple as "This is in D minor". There's more to it than that.
@@andrewchambersmusic Wouldn’t you just refer to the key it’s written in? It opens in D major, so it is in D major. So what if the chords are articulated to be in D minor…?
Splendide quatuor, d'une grande culture et qualité d'écriture. ❤
Only listened to the first movement so far, but wow, I feel like Schönberg must have heard this. A lot of similarities to his first string quartet IMO, which he wrote fifteen years later.
EDIT: Just read this. "While many composers followed Arnold 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."
That's crazy to me. This piece sounds so much like early Schönberg to me, and like d'Indy himself came pretty close to the borders of tonality.
Maybe Schoenberg himself appreciated the work of his detractor :)
@@Maharani1991 Well, it may just be the timeless cycle of ruffling the feathers of your elders when you're young, and becoming like them when you're old. D'Indy's later music is much more conservative.
Lovely music, Paul D'indy, love Grandma
simply superb
i can see the grosse fuge in the opening!
+15kwakmatthew I was gonna say that
@@metodoinstinto Me too! And at 2 before J the second violin sounds as though it's anticipating the overture to Donna Dianna (premiered a few years later). Generally you can sure tell that this guy was a pupil of Franck.
Thanks to this channel, I have had the opportunity to listen to quartets 1 and 2 for the first time in my life. Charming works, but never played on our two local classical music stations. Did he ever get around to writing a third one?
he wrote a whole bunch en.wikipedia.org/wiki/List_of_compositions_by_Vincent_d%27Indy
he wrote a whole bunch en.wikipedia.org/wiki/List_of_compositions_by_Vincent_d%27Indy
What movement is the Yankee Doodle d'Indy part?
😲👏👏👏👏👍✌👀
music is fine, quartet also, the only thing i don't understand is this reverberation, sounds like notre-dame or dome/cologne.
+chris ingres Yes you're right, their recordings of d'Indy's 2nd and 3rd quartet have the same problem. Not sure what they did that made it sound like this...
anyway: it's a great pleasure that one can listen (and see) here some fine music that isn't common repertoire in the concert hall. many thanks for your incredible work. -- the toon on your page is funny :D
chris ingres
Yes I'm very fond of it too! It's made by Wieske de Jong, check out www.wieskedejong.com to see more of her work :)
oh thank you, good stuff, she likes those anteater-like animals :D there's another drawing. funny, they look quite relaxed. so you are also dutch? cu, chris olla-vogala
chris ingres
Yes I am :D Where are you from?
The quartet is in D minor, not D Major.
The opening phrase is in D minor, but the material that follows modulates through a bunch of different keys before eventually moving to D major.
@@andrewchambersmusic It ends in D Minor though..
@@MCMeru The key that the piece ends in isn't particularly relevant in this case. There's a rule taught to music students that the key of a piece can be determined by looking at the beginning and ending sections, but this is actually just a learning tool, and not a reliable method across all music.
The act of categorizing music into major and minor keys becomes more and more difficult (and in many cases foolish) the further into the contemporary era you get (in this case 1890 on the cusp of the contemporary era from the romantic era). If a piece of music opens in A minor for 30 seconds, is then in F major for 10 minutes, and then ends back in A minor, in what sense is the piece as a whole really "in A minor". And in the case of the piece above, what happens when it's in a bunch of different keys, and at times not in a key at all? There are many moments in this piece where it can be said that we are in a key, but only in the sense that there is a tonal center. Not in terms of a more general pitch content associated with a key. For example, at 1:26 (rehearsal A) we have clear F#s indicative of major, but we also have Bbs indicative of minor. Raised 3rd degree, but a lowered 6th degree.
All this is to say that it's not quite as simple as "This is in D minor". There's more to it than that.
its. amatter of opnion, i find it is in Y minor artificialis.
@@andrewchambersmusic Wouldn’t you just refer to the key it’s written in? It opens in D major, so it is in D major. So what if the chords are articulated to be in D minor…?