“There is no need to mention the excessive bureaucracy and officialism which is the crying evil of this country.  We find everywhere submission to rules and servitude to the State.  But what government, pope, emperor, or president could oblige an artist to think and write against his will?  Liberty—­that is the true wealth and the most precious inheritance of the artist, the liberty to think, and the liberty that no one has the power to take away from us—­that of doing our work according to the dictates of our conscience.”

Who does not feel the infectious warmth and beauty of these spirited words?  How this force of enthusiasm and sincerity must grip all young and eager hearts.  “There are two qualities,” says M. d’Indy, on the last page of Cours de Composition, “which a master should try to encourage and develop in the spirit of the pupil, for without them science is useless; these qualities are an unselfish love of art and enthusiasm for good work.”  And these two virtues radiate from M. d’Indy’s personality as they do from his writings; that is his power.

But the best of his teaching lies in his life.  One can never speak too highly of his disinterested devotion for the good of art.  As if it were not enough to put all his might into his own creations, M. d’Indy gives his time and the results of his study unsparingly to others.  Franck gave lessons in order to be able to live; M. d’Indy gives them for the pleasure of instructing, and to serve his art and aid artists.  He directs schools, and accepts and almost seeks out the most thankless, though the most necessary, kinds of teaching.  Or he will apply himself devoutly to the study of the past and the resuscitation of some old master.  And he seems to take so much pleasure in training young minds to appreciate music, or in repairing the injustices of history to some fine but forgotten musician, that he almost forgets about himself.  To what work or to what worker, worthy of interest, or seeming to be so, has he ever refused his advice and help?  I have known his kindness personally, and I shall always be sincerely grateful for it.

His devotion and his faith have not been in vain.  The name of M. d’Indy will be associated in history, not only with fine works, but with great works:  with the Societe Nationale de Musique, of which he is president; with the Schola Cantorum, which he founded with Charles Bordes, and which he directs; with the young French school of music, a group of skilful artists and innovators, to whom he is a kind of elder brother, giving them encouragement by his example and helping them through the first hard years of struggle; and, lastly, with an awakening of music in Europe, with a movement which, after the death of Wagner and Franck, attracted the interest of the world by its revival of the art of the Middle Ages and the Renaissance.  M. d’Indy has been the chief representative of all this artistic