"On a sort of rhythmic pedal sustained by the violins is built the impressive image of an intelligent monster, a joyous giant."
_Pacific 231_ is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, double bassoon, four horns, three trumpets, three trombones, bass tuba, snare drum, bass drum, cymbals, tam-tam, strings.
The locomotive engine has been the theme of strange tales by Dickens, Marcel Schwob, Kipling, and of Zola's novel, _La Bête humaine_. It is the hero of Abel Gance's film, _Roué_ for which it is said Honegger adapted music, and the American film, _The Iron Horse_.
(Born at Paris, March 27, 1852;[34] died at Paris on December 2, 1931)
Vincent d'Indy's music has often been charged with the atrocious crimes of austerity and aloofness; it has been called cerebral. It is true that d'Indy uses his head, not loses it, in composition; that his music will never be popular with the multitude; it lacks an obvious appeal to those who say, with an air of finality: "I know what I like." It is not sugary; it is not theatrical. To say that it is cold is to say that it is not effusive. D'Indy does not gush. Nor does he permit himself to run with a mighty stir and din to a blatant climax, dearly loved by those who think that noise shows strength. He respects his art and himself, and does not trim his sails to catch the breeze of popular favor. There is a nobility in his music; there is to those who do not wear their heart on their sleeve true warmth. There is a soaring of the spirit, not a drooping to court favor. And no one has ever questioned his constructive skill.
I. Extrêmement lent; très vif II. Modérément lent III. Modéré; très animé IV. Introduction, fugue et finale
The majority of the pages in d'Indy's symphony contain music lofty and noble. Only the _finale_ sinks below the prevailing high level, and there are fine moments in the introduction to this _finale_. It is natural that the influence of César Franck is shown especially in the two middle movements. So great was d'Indy's devotion to his master that he proudly admitted the influence; but d'Indy was no mere copyist; the greatest pages of the symphony are his own.