Album insights
Forgotten men, generations or just a few years after your demise, you would rush back to your graves, not wanting to witness your good reputation tarnished, memories of you erased, your foresight betrayed by friends, subordinates, and, worse yet, your heirs.
François Magnard, the director of Le Figaro, is said to have uttered these resonant words to his son upon gazing at a volume of works by Bossuet, a seventeenth-century bishop known for his exceptional skill in funeral orations. Born in Paris on June 9, 1865, Lucien Denis Gabriel Albéric Magnard was a contemporary of Sibelius, Nielsen, Paul Dukas, and Glazunov. He showed a resemblance to the latter in his patient mastery of counterpoint. In other respects, his connection to fellow French composers like Dukas, d'Indy, Ernest Chausson, and Joseph Guy Ropartz was much closer.
There exists a discernible "rupture" between the life and music of Lucien Denis Gabriel Albéric Magnard. He completed his schooling in 1882 with a baccalaureate degree, followed by an unlikely six-month stint in the Benedictine Abbey of Ramsgate. After a stint in military service, he proceeded to study law, which he completed in 1887. Despite displaying little musical talent thus far, he enrolled in the Paris Conservatoire, undergoing training in counterpoint and attending Massenet's seminars. The fruits of his efforts are evident in his symphonies, the first two of which were composed under d'Indy's guidance.
Post four years of studies with d'Indy, Magnard decided he was ready to pursue his career independently. Shortly thereafter, his father's death left him devastated. Despite varied feelings towards his son, François Magnard remained his most steadfast ally. The tragedy led to the creation of his orchestral work, "Chant funèbre" op. 9, reflecting a mix of emotions that lingered within him.
In 1896, Magnard, along with his wife and two daughters, moved to the Manoir des Fontaines in Baron, thirty kilometers north of Paris. In September 1914, as the German advance hastened, he stayed behind, ensuring his family's safety while confronting the approaching soldiers with decency.
Details about the events that unfolded differ. It seems that on September 3, a German cavalry unit breached Magnard's estate. Viewing this as a breach of some agreement, the composer fired from an upstairs window, resulting in the death of a soldier, perhaps two. Subsequently, the German unit set the house ablaze, tragically claiming the composer's life within.
This violent, yet somewhat typical end overshadowed much of Magnard's compositions, including "Yolande," a cycle of a dozen songs, and the entire score of "Guercœur." His close friend Ropartz eventually reconstructed parts of the lost works, restoring them to performance in 1931, notably saving Magnard from potential obscurity.
From his early studies under d'Indy, Magnard exhibited a natural inclination towards symphonic thinking. The symphonic form adopted certain principles from Franck, with cyclical themes modulated throughout the movements—evident in his Symphony No. 1 in C minor, Op. 4 (1890).
Magnard's Symphony No. 2 in E major, Op. 6 (1893) showed significant progress, emphasizing rhythmic complexities and melodic wanderings. The work embraced a mix of humor and poignancy, revealing the composer's growing maturity and orchestral virtuosity.
Subsequent works, such as Symphony No. 3 in B minor, Op. 11 (1895/96), highlighted Magnard's compositional depth and formal restraint. The symphony's cohesive structure and melodic richness made it his most accessible and endearing work, garnering praise and audience appeal.
The culmination of Magnard's symphonic output, Symphony No. 4 in C-sharp minor, Op. 21 (1913), stood out for its vast scale and Mahlerian influences. The symphony showcased immense orchestral prowess and moments of profound intensity, reflecting the composer's emotional and creative depths.
Despite facing years of disappointment and self-doubt, Magnard's symphonies stand as enduring testaments to his creative spirit, blending elements of tradition and innovation. His works, ranging from intimate lyrical moments to grand symphonic gestures, reveal a complex and contemplative composer whose profound musical legacy continues to captivate audiences to this day.