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In 1909 he began regular work as a critic for the Chronique des Arts and in 1910 was one of the founders, with Ravel, of the Société musicale indépendante, with whose activities he was intensely associated.From its inception in the early 1930s to his death he was a passionate supporter of the International Society for Contemporary Music, eventually becoming President of its French section.Some of his most characteristic effects come from a very static treatment of harmony, savouring the effect of, for instance, a stacked-up series of fifths through the whole gamut of the instruments.His melodies are often long, asymmetrical and wide-ranging in tessitura.Partly due to his vigorous championing of younger composers and new styles, he was never successful in his attempts to gain a permanent teaching position for himself, though he was an examiner for many institutions (e.g.the Conservatoires of Brussels, Rheims and Marseilles).
From 1896 he was a pupil of Gabriel Fauré, where his fellow-pupils now included Ravel and Jean Roger-Ducasse.This tower is for the artist like a lighthouse shining out across the world." Koechlin was born in Paris, and was the youngest child of a large family.His mother's family came from Alsace and he identified with that region; his maternal grandfather had been the noted philanthropist and textile manufacturer Jean Dollfus, and Koechlin inherited his strongly developed social conscience. Though he was early interested in music his family wanted him to become an engineer.After his graduation Koechlin became a freelance composer and teacher.
He married Suzanne Pierrard in 1903, but after 1921 regularly corresponded with his former student, composer Catherine Murphy Urner in California.He was a political radical all his life and a passionate enthusiast for such diverse things as medieval music, The Jungle Book of Rudyard Kipling, Johann Sebastian Bach, film stars (especially Lilian Harvey and Ginger Rogers), traveling, stereoscopic photography and socialism.