28 - Vincent d’Indy; the Schola Cantorum; Franck’s funeral

Summary

Ambroise Thomas, composer of Hamlet and Mignon, was an excellent musician and a delightful man, modesty personified, and he knew the orchestra thoroughly. A school of amateurs was founded with the aim of taking his place and of dishonoring him, primarily as a musician. Thomas was incapable of defending himself, he was so plain and modest. This school was called the Schola Cantorum, and it only ceased attacking the Conservatory on the day when its head was appointed a professor there.

D’Indy's persecution of Ambroise Thomas and the Conservatory never stopped until the day when the composer of Fervaal was appointed professor of the [orchestra] class.

In his book on Franck, Vincent d’Indy relates that he didn't know to what Franck's appointment as organ professor at the Conservatory was attributable, even though this story is not in doubt to anyone, starting with himself. Franck was [organ] accompanist at Sainte-Clotilde when Cavaillé-Coll built the organ that we hear there every Sunday. Théodore Dubois returned from Rome and was appointed choirmaster, and Franck moved on to the grand orgue that had just been built. On the [retirement] of père François Benoist, organ teacher at the Conservatory, Thomas asked Dubois whom to appoint in Benoist's place. Thus, Franck's appointment was indeed due to Ambroise Thomas [with Dubois's recommendation], despite Vincent d’Indy's assertions.

Furthermore, on the day when d’Indy was finally appointed professor of the orchestra class at the Conservatory, his attacks suddenly ceased. Incidentally, he could not project sufficient authority, and the greatest unruliness reigned in his orchestra class.

Speaking of César Franck's funeral, d’Indy wrote: “The whole Conservatory was present at Franck's funeral except Ambroise Thomas.” He was suffering from an eczema attack, and had sent as his representative Léo Delibes, professor at the Conservatory and member of the Institute. I can still see Delibes and Franck's son shaking hands by the sacristy door. D’Indy's assertions should not be taken seriously.

It is true that during Franck's funeral ceremony two blunders were committed. I will say, however, that the funeral oration of Curé Gardey was very moving:

• 1. The grand orgue, over which a large velum had been stretched, was supposed to be silent, but was heard to everyone's surprise under the fingers of Eugène Gigout, whom no one had asked to play.