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The lukewarm reception given to Haydn's music by many nineteenth-century composers and critics, especially in Germany, is well known. Yet, in 1909, Vincent d'Indy's interest in the music of Joseph Haydn reached an apogee with the publication of extensive analyses of Haydn's music in the second volume of the Cours de composition musicale, the composition of a work dedicated to Haydn's memory, the Menuet sur le nom de Haydn, op. 65, and an appearance as an honorary vice president and speaker at the Haydn-Zentenarfeier in Vienna. D'Indy was likely the most well-known composer/scholar to view Haydn's music in a positive light in the second half of the nineteenth century and d'Indy's analyses and research set the foundation for the revival of Haydn's reputation in the early twentieth century. D'Indy is, at first glance, an improbable supporter, given his stance as an advocate of French musical practice and his reverence for Beethoven's music. Nevertheless, his driving interest in exploring Beethoven's precursors led d'Indy to Haydn. While he credits Haydn with numerous innovations, d'Indy's most remarkable contributions are his references to specific works to elucidate his views, something virtually unknown in the writings of his contemporaries.
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