An essay of mine has gone up at Angel Millar’s People of Shambhala website, on the topics of “Traditionalism, le Wagnerisme, and Vincent d’Indy.” D’Indy (1851 – 1931) was a French and decidedly Catholic composer who responded positively to the innovations of Richard Wagner; he founded the Schola Cantorum, a conservatory in Paris dedicated to the proposition that art is in service to civilization and has a moral as well as an aesthetic role. D’Indy was a lifelong monarchist and satisfyingly reactionary in most of his views.
I offer a sample –
When in 1894 d’Indy with Charles Bordes and Alexandre Guilmant established the Schola Cantorum, a school for composers and performers that would concentrate on instrumental and orchestral music rather than opera, he began his project of realizing his ideals in a functioning institution that would compete with the other conservatories already in existence. D’Indy believed in the absoluteness of counterpoint as the basis of compositional excellence; he believed that musician-composers should know not only music but also the history of music – and alongside all that be well grounded in the other arts and the humanities. D’Indy believed that a truly French music, reflecting France’s Catholic civilization, would find its natural soil in the Gregorian repertory and in regional folk music. He believed that music should participate in all the central institutions of a society, beginning with the Church, and that in so doing it would contribute to the moral health of the nation.
D’Indy’s emphasis on the regionality of folk-music sources indicates his appreciation that the French nation was forged by the union of distinct smaller polities and local dialects. Although d’Indy’s own music would become progressively less Teutonic, his ideas about music as a moral and cultural force remain identifiably Wagnerian.