César Franck (1822 - 1890)

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Cesar Franck (18221890)

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Csar Franck

Csar Franck, photographed byPierre Petit

Csar-Auguste-Jean-Guillaume-Hubert Franck (10 December 18228 November 1890) was acomposer,pianist,organist, and music teacher who worked in Paris during his adult life.

He was born inLige, where he gave his first concerts in 1834. He studied privately in Paris from 1835, wherehis teachers includedAnton Reicha. After a brief return to Belgium, and a disastrous reception to an earlyoratorioRuth, he moved to Paris, where he married and embarked on a career as teacher and organist. He gaineda reputation as a formidable improviser, and travelled widely in France to demonstrate new instruments built byAristide Cavaill-Coll.

In 1858 he became organist atSainte-Clotilde, a position he retained for the rest of his life. He becameprofessor at the Paris Conservatoire in 1872; he took French nationality, a requirement of the appointment. His

pupils includedVincent d'Indy,Ernest Chausson,Louis Vierne, andHenri Duparc. In the 1870s Franck took upcomposition again, and subsequently wrote several works that have entered the standard classical repertoire,includingsymphonic,chamber, andkeyboardworks.

Biography

Child and student (18221842)

House Grady in Lige, where Csar Franck was born
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Franck was born inLige, then part of the Kingdom of theNetherlands(from 1830 part ofWalloon-speakingBelgium) to Nicholas-Joseph Franck, whose family came from the German-Belgian border, and Marie-Catherine-Barbe Frings Franck, who was fromGermany. Although young Csar-Auguste, as he was known inhis early years, showed both drawing and musical skills, Nicholas-Joseph envisioned him as a young prodigypianist-composer, after the manner ofFranz LisztorSigismond Thalberg, who would bring fame and fortune tohis family.[1]His father entered Franck at theRoyal Conservatory of Lige, studyingsolfge, piano, organ, and

harmony withJoseph Daussoigne-Mhuland other faculty members. Csar-Auguste gave his first concerts in1834, one before Leopold I of the newly-formed Kingdom of Belgium.[2]

In 1835, his father resolved that the time had come for wider audiences, and brought Csar-Auguste and hisyounger brother Joseph to Paris, to study privately: counterpoint withAnton Reichaand piano withPierreZimmermann. Both men were also professors at theParis Conservatoire. When Reicha died some ten monthslater, Nicholas-Joseph sought to enter both boys into the Conservatoire. However, the Conservatoire would notaccept foreigners; Nicholas-Joseph was obliged to seek French citizenship, which was granted in 1837 .[3]In theinterval, Nicholas-Joseph promoted concerts and recitals in Paris featuring one or both boys playing popularmusic of the period, to mostly good reviews.

Young Franck and his brother entered the Conservatoire in October, 1837, Csar-Auguste continuing his pianostudies under Zimmerman and beginning composition with Aim Leborn.[4]He took the first prize in piano atthe end of his first year (1838) and consistently maintained that level of performance. His work in counterpointwas less spectacular, taking successively third, second, and first prizes between 1838 and 1840. He added organstudies withFranois Benoist, which included both performance and improvisation, taking second prize in1841, with the aim of competing for thePrix de Romein composition in the following year. However, forreasons that are not explicit, he made a "voluntary" retirement from the Conservatoire on 22 April 1842.[5]

His withdrawal may have been at his father's behest. While Csar-Auguste was pursuing his academic studies,he was, at his father's demand, also teaching privately and giving concerts. "It was a hard life for him, . . . andnot made easier by the ill-tempered and even vindictive behavior of his father . . . ." [6]Concerts performed by

young Franck (some with his brother on the violin, some including Franck's own compositions) were at firstreceived well, but increasingly Nicholas-Joseph's commercial promotion of his sons antagonized the Parisianmusical journals and critics. Csar-Auguste's technical abilities as a pianist were acknowledged; his abilities asa composer were (probably justly at this point) felt to be wanting. The whole situation was aggravated by whatin the end became a feud between Nicholas-Joseph and Henri Blanchard, the principal critic of the Revue etGazette musicale, who lost no opportunity to castigate the aggressive pretensions of the father and to mock the"imperial" names of the elder son. This animosity, "undoubtedly personal",[7]may well have caused Nicholas-Joseph to decide that a return to Belgium was in order, and in 1842 "a peremptory order "[8]to young Franckcompelled the latter to leave the Conservatoire and accompany him.

Teacher and organist (18421858)

This return to Belgium lasted less than two years. Profitable concerts did not arise; the critics were indifferent orscornful; patronage from the Belgian court was not forthcoming (although the King later sent Csar-Auguste agold medal)[9]and there was no money to be made. As far as Nicholas-Joseph was concerned, the excursion wasa failure, and he brought his son back into a regime of teaching and family concerts in Paris, which LaurenceDavies characterizes as rigorous and low-paying.[10]Yet there were long-term benefits for young Franck. For itwas from this period, extending back into his last Conservatoire years and forward beyond his return to Paris,that his first mature compositions emerged, a set of Trios (piano, violin, cello); these are the first of what he
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regarded as his permanent work. Liszt saw them, offered encouragement and constructive criticism, andperformed them some years later in Weimar.[11]In 1843, Franck began work on his first non-chamber work, theoratorioRuth. It was privately premiered in 1845 before Liszt,Meyerbeer, and other musical notables, whogave moderate approval and constructive criticism.[12]However, a public performance in early 1846 met withpublic indifference and critical snubs for the oratorios artlessness and simplicity.[13]The work was notperformed again until 1872, after considerable revision.

In reaction, Csar-Auguste essentially retired from public life to one of obscurity as a teacher and accompanist,in which his father reluctantly concurred. Young Franck had commissions both in Paris and in Orlansfor theseactivities, and for the composition of songs and small works. He had offered some compositions to celebrateand strengthen the newSecond Republicof 1848; the public received some of them with interest, but as theRepublic gave way to theSecond EmpireunderLouis-Napolon, they dropped out of use. In 1851 he attemptedan opera,Le Valet de Ferme, with a libretto of "abysmal literary quality"[14]and a hastily sketched score. Franckhimself was to say towards the end of his career that "it is not worth printing."[15]All in all, however, thisobscurity may have been restful for him after his previous life in the spotlight: Franck was still very much inthe dark as to what his vocation was.

[16]However, two crucial changes in these years were to shape theremainder of his life.

The first was an almost complete disruption of relations with his parents. The proximate cause was hisfriendship and later love for one of his private piano pupils, Eugnie-Flicit-Caroline Saillot (18241918),whose parents were members of theComdie-Franaisecompany under the stage name of Desmousseaux. Hehad known her from his years at the Conservatoire, and for young Franck Flicit Desmousseauxs family homehad become something of a refuge from his overbearing father. When in 1846 Nicholas-Joseph found acomposition dedicated to Mlle. F. Desmousseaux, in pleasant memories among Csar-Augustes papers, hetore it up in the latters presence. Csar-Auguste went directly to the Desmousseauxs, wrote out the piece frommemory, and presented it to Flicit with the dedicatory line. Relations with his father worsened, his fatherforbidding any thought of betrothal and marriage (which French law permitted a father to do for a son under age25), accusing him of distressing his mother (whose role is unclear: she was either mildly supportive of her son

or stayed completely out of the conflict) and shouting at him about a then notorious husband-wife poisoningcase as the most likely outcome of any match by his son.[17]On a Sunday in July, Csar-Auguste walked out ofhis parents house for the lasttime with nothing but what he could carry, and moved to the Desmousseauxs,where he was welcomed. From that time on, young Franck termed himself and signed his papers and works asCsar Franckor plain C. Franck. It was his intention to make a clean break with his father and to let it beknown he had done so . . . . He was determined to become a new person, as different as possible from theother.

[18]

Under Flicits parents friendly if vigilant eyes, he continued to court her. As soon as he turned 25 in 1847, heinformed his father of his intention to marry the lady, and in fact did so on 22 February 1848, the month of theParis revolt. To get to the church, the party had to climb over the barricades set up by the revolutionaries with,

dIndy says, the willing help of the insurgents who were massed behind this improvised fortification.[19]

Theelder Francks were sufficiently reconciled to the marriage that they attended the ceremony and signed theregister at what had become Csars parish church, Notre-Dame-de-Lorette.

It was the second great change that made Notre-Dame-de-Lorette Franck's parish church: his appointment thereas assistant organist in 1847, the first of a succession of increasingly more important and influential organ posts.Although young Franck had never shone at the Conservatoire as organist in the manner that he had as pianist, hehad wanted an organists position, not least because it provided a steady income. He now had occasion to matchhis Roman Catholic devotion with learning the skills needed for accompanying public worship, as well as the
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occasional opportunity to fill in for his superior, Alphonse Gilbat. In this position he won the favorable attentionof the churchs Abb Dancel, who in 1851 moved to the new church of Saint-Jean-Saint-Franois-au-Marais ascurand two years later invited Franck to assume the position of titulaire, or primary organist. Francks newchurch possessed a fine new organ (1846) byAristide Cavaill-Coll, who had been making a name for himselfas an artistically gifted and mechanically innovative creator of magnificent new instruments. My new organ,Franck said, its like an orchestra!

[20]Francks improvisatory skills were now in much demand, since

liturgical practice of the time required the ability to take the plainsong music sung for the Mass or the Officeand to develop from it organ music fitting into the service between texts sung or spoken by the choir or clergy.Furthermore, Francks playing ability and his love of the Cavaill-Coll instruments led to his collaboration withthe builder to demonstrate the latters instruments, Franck travelling to towns throughout France to show off

older instruments or play inaugural concerts on new ones.

At the same time, a revolutionary change was occurring in the techniques of French organ performance. TheGerman organistAdolf Hesse(18091863), a student of Bachs biographerJohann Nikolaus Forkel,[21]haddemonstrated in 1844 in Paris the pedal technique which (together with a German-style pedal board) madepossible the performance of Bachs works. This was totally outside the scope of the kind of playing whichFranck had learned from Benoist at the Conservatoire; most French organs did not have the pedal board notes

required for such work, and even Frances own great classical organ tradition dating from the period of theCouperinswas at that time neglected in favor of the art of improvisation. Hesses performances might havebeen treated simply as a short sensation for their dazzling virtuosity, but that Hesses pupilJacques-NicolasLemmens(18231881) came to Paris in 1852 and again in 1854. Lemmens was then professor of organ at theRoyal Conservatory of Brussels, and was not only a virtuoso performer of Bach but a developer of organteaching methods which all organists could learn in order to play with precision, clarity, and legato phrasing.Franck appeared on the same inaugural concert program as Lemmens in 1854,[22]much admiring not only theclassic interpretation of Bach but also the rapidity and evenness of Lemmens's pedal work. Vallas states thatFranck, pianist before he was organist, "never wholly acquired the legato style himself";[23]nevertheless herealized the expansion of organ style made possible by the introduction of such techniques and set about thetask of mastering them.[24]

Csar Franck, organist

Titulaire of Sainte-Clotilde (18581872)
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In this he was both challenged and stimulated by his third and last change in organ posts. On 22 January 1858,he became organist and maitre de chapelle at the newly-consecratedSainte-Clotilde(from 1896 theBasilique-Sainte-Clotilde), where he remained until his death. Eleven months later, the parish installed a new three-manual Cavaill-Coll instrument,[25]whereupon he was made titulaire,Thodore Duboistaking over aschoirmaster and assistant organist. The impact of this organ on Franck's performance and composition cannotbe overestimated; together with his early pianistic experience it shaped his music-making for the remainder of

his life. Norbert Dufourcq described this instrument as "unquestionably the constructor's masterpiece up to thistime".[26]Franck himself told the curof Sainte-Clotilde: "If you only knew how I love this instrument . . . it isso supple beneath my fingers and so obedient to all my thoughts!".[27]To prepare himself for this organ'scapabilities (including its thirty-note pedal), Franck purchased a practice pedalboard fromPleyel et Cieforhome practice to improve his pedal technique, as well as spending many hours at the organ keyboard. Thebeauty of its sound and the mechanical facilities provided by the instrument assisted his reputation asimproviser and composer, not only for organ music but in other genres as well. Pieces for organ, for choir, andforharmoniumbegan to circulate, among the most notable of which is theMesse 3 voix (1859). The quality ofthe movements in this work, composed over a number of years, is uneven, but from it comes one of Franck'smost enduring compositions, the communion anthem "Panis angelicus". More notable still is the set ofSixPices for organ, written 18601862 (although not published until 1868). These compositions, (dedicated to

fellow organists and pianists, to his old master Benoist, and to Cavaill-Coll), remain part of modern organrepertory and were, according to Rollin Smith, the first major contribution to French organ literature in over acentury, and "the most important organ music written since Mendelssohn's."[28]The group includes two of hisbest-known organ works, the "Prlude, Fugue, et Variation", op. 18 and the "Grande Pice Symphonique", op.17.

His increasing reputation as both performer and improviser continued to make Franck much in demand forinaugural or dedicatory recitals of new or rebuilt Cavaill-Coll organs:Louis James Alfred Lefbure-Wly'snew instrument at Saint-Sulpice (1862) and later for organs at Notre-Dame, Saint-tienne-du-Mont, and LaTrinit; for some of these instruments, Franck had acted (by himself or withCamille Saint-Sans) as consultant.At his own church, people began to come to hear the improvisations for the Mass and the Office. In addition,

Franck began to give "organ-concerts" or recitals at Sainte-Clotilde of his own works and those of othercomposers. Perhaps his most notable concert arose from the attendance at a Sunday Mass in April 1866 ofFranz Liszt, who sat in the choir to listen to Franck's improvisations and afterward said "How could I everforget the man who wrote those trios?" To which Franck is supposed to have murmured a little sadly, "I fancy Ihave done rather better things since then.".[29]Liszt organized a concert at Sainte-Clotilde to promote Franck'sorgan works later that month, which was well received by its listeners and well reported in the musical journals.Despite his comment about the trios, Franck was pleased to hear that not only Liszt butHans von Blowwasincluding them in concerts in Germany on a regular basis. Franck reinforced his understanding of German organmusic and how it should be played by hearingAnton Brucknerat Notre-Dame in 1869. He began to have aregular circle of pupils, who were there ostensibly for organ study but showed increasing interest in Franck'scompositional techniques.

Franck continued to write compositions for use by choir in this period; most were never published. As was thencommon even for Conservatoire-trained musicians, he had never become familiar with thepolyphonic musicofearlier centuries. Franck composed his liturgical works in the then-current style, which Davies characterizes as"secular music with a religious bias".[30]Nevertheless, he was encouraged to begin work (1869) on a majorchoral work,Les Batitudes, which was to occupy him for more than ten years, the delay partly due to theinterruptions of theFranco-Prussian War. The War, as had the 1848 Revolution, caused many of his pupils todisappear, either because they left Paris or were killed or disabled in the fighting. Again he wrote some patrioticpieces which, in the harshness of the times, were not then performed. He and his family experienced economic
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hardships as his income dropped and food and fuel became scarce. The Conservatoire was closed for theacademic year 18701871.[31]But a change was coming in how French musicians regarded their own music;particularly after the war they were looking for anArs Gallica[32]that would be distinctly French. This termbecame the motto of the newly-foundedSocit Nationale de Musique, of which Franck became the oldestmember; his music appeared on its first program in November 1871.

"Pre Franck", Conservatory professor, composer (1872

1890)

Franck's reputation was now widespread enough, through his fame as performer, his membership in the Socit,and his smaller but devoted group of students, that when Benoist retired as professor of organ at the reopeningof the Paris Conservatoire in 1872, Franck was proposed as successor. There is some uncertainty as to whomade the nomination to the government; at different times Saint-Sans and Theodore Dubois claimedresponsibility, as did Cavaill-Coll.[33]What is certain is that Franck's name was at the head of the list ofnomineesand that the nomination exposed the embarrassing fact that Franck was not a French citizen, arequirement for the appointment. It turned out that Franck did not know that when his father, Nicholas-Joseph,became a naturalized French citizen in order to enter his sons into the Conservatoire as students, they werecounted as citizens only until age twenty-one, when they were obliged to declare their allegiance to France as

adults. Franck had always regarded himself as French from the time of his father's naturalization. In fact, he hadunknowingly reverted to his birth nationality of Belgian at his majority. Franck went through the naturalizationprocess at once; his original appointment on 1 February 1872 was regularized in 1873.

Many of his original circle of students had studied or were studying at the Conservatoire. Among the mostnotable in later life wereVincent d'Indy,Ernest Chausson,Louis Vierne, andHenri Duparc. This group becameincreasingly tight-knit in their mutual esteem and affection between teacher and pupils. d'Indy relates thatindependently but unanimously each new student came to call their professor Pre Franck, "Father Franck".[34]On the other hand, Franck experienced some tensions in his faculty life: he tended to teach composition asmuch as he did organ performance and improvisation; he was considered unsystematic in his teachingtechniques ("Franck never taught by means of hard and fast rules or dry, ready-made theories"[35]), with an

offhand attitude towards the official texts and books approved by the Conservatoire; and his popularity amongsome students provoked some jealousy among his fellow professors and some counter-claims of bias on the partof those professors when judging Franck's pupils for the various prizes,[36]including thePrix de Rome. Vallassays that Franck, "with his simple and trusting nature was incapable of understanding . . . how much back-chatof the nastier kind there could be even in a Conservatoire whose atmosphere he himself always found kindlydisposed towards him."[37]

He was now in a position to spend time composing works for which ideas had been germinating for years. Heinterrupted his work onLes Batitudes to produce (among many shorter works) the oratorioRdemption (1871,revised 1874), the secular cantataLes olides (1876), the Trois Pices for organ (1878), and the piano Quintet(1879).Les Batitudes itself finally saw its first performance in 1879. As with many other premiers of Franck's

larger choral and orchestral works, it was not successful: the work was highly sectionalized and lent itself toperformance of excerpts rather than as a whole. There was no orchestra available, and those sections that wereperformed were accompanied by piano. Further, even d'Indy points out that Franck seemed incapable ofmusically expressing an evil contrasting to the virtues expressed in the Gospel beatitudes: "This personificationofideal evil--if it is permissible to link these termswas a conception so alien to Franck's nature that he neversucceeded in giving it adequate expression."[38]The resulting "impression of monotony", as Vallas puts it,[39]caused even Franck's devoted pupils to speculate onLes Batitudes'viability as a single unified work.
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Franck was finding, in the 1880s, that he was caught between two stylistic advocates: his wife Flicit, who didnot care for changes in Franck's style from that to which she had first become accustomed; and his pupils, whohad a perhaps surprising influence over their teacher as much as he over them. Vincent d'Indy is quoted assaying "When [Franck] was hesitating over the choice of this or that tonal relation or over the progress of anydevelopment, he always liked to consult his pupils, to share with them his doubts and to ask their opinions."[40]In turn, one of Franck's students recounts that Mme Franck remarked (with some truth) that "It is you pupils

who have aroused all the hostility shown against him."[41]In addition, there were some discords within theSocit Nationale, where Saint-Sans had put himself increasingly at odds with Franck and his pupils.

How exactly all of this turmoil may have played out in the composer's mind is uncertain. It is certain that anumber of his more "advanced" works appeared in this time period: the symphonic poemsLe Chasseur Maudit(1882) andLes Djinns (18831884), the Prelude, Chorale, and Fugue for piano (1884), the VariationsSymphonique (1885), and the operaHulda (1886). Many met with indifferent success or none, at least on theirfirst presentations during Franck's lifetime; but the Quintetof 1879 (one of Saint-Sans's particular dislikes) hadproven itself an attention-getting and thought-provoking work (critics described it as having "disturbingvitality" and an "almost theatrical grimness"[42]). In 1886 Franck composed theViolin Sonataas a wedding giftfor the Belgian violinistEugne Ysae. This became a resounding success; Ysae played it in Brussels, in Paris,

and took it on tour, often with his brotherTho Ysaeat the piano. Vallas, writing in the mid-twentieth century,says that the Sonata had "become Franck's most popular work, and, in France at least, the most generallyaccepted work in the whole repertoire of chamber music."[43]

The continuing ambiguity of esteem in which Franck was held may be shown in the award which Franck'scircle had thought long delayed in its presentation. On 4 August 1885, Franck was made a Chevalier of theFrenchLgion d'honneur. His supporters were indignant: d'Indy writes that "it would be wrong to suppose thatthis honor was bestowed upon the musician, the creator of the fine works which do honor to French art. Not inthe least!".[44]Instead the citation was simply as "professor of organ" having completed more than ten years inthat post. Vallas goes on to state: "Public opinion made no similar mistake on this score" and quotes a journalusually opposed to Franck as saying that the award was "above all things an act of homage paid justly if a little

tardily to the distinguished composer ofRdemption andLes Batitudes."[45]

The dissension between Franck's family and his circle of students reached a new height when Franck publishedPsych(written 188688), a symphonic poem based on the Greek myth. The controversy (not confined toFranck's immediate acquaintances) was not over the music, but over the philosophical and religiousimplications of the text (based on a poetic sketch by a certain Sicard and Louis de Fourcaud). Franck's wife andson found the work too sensual, and wanted Franck to concentrate on music wider and more popular in appeal"and altogether more commercial".[46]d'Indy, on the other hand, speaks of its mystical significance, saying thatit has "nothing of the pagan spirit about it, . . . but, on the contrary, is imbued with Christian grace and feeling . .. .[47]The discussions became a quarrel. Further controversy arose with the publication of Franck's onlysymphony, that inD minor (1888). The work was badly received: the Conservatoire orchestra opposed,[48]the

audience "ice-cold", the critics bewildered (the reactions ranged from "unreserved enthusiasm" to "systematicdisparagement"), and many of Franck's fellow composers completely out of countenance towards a work"which by its general style and even certain details" (for example, use of anEnglish horn) "outraged theformalist rules and habits of the stricter professionals and amateurs." [49]Franck himself, on being asked whetherthe symphony had any basis in a poetic idea, told Louis de Serres, a pupil, that "no, it is just music, nothing butpure music.".[50]According to Vallas, much of its style and technique (both good and not so good) can beattributed directly to the centrality of the organ in Franck's thinking and artistic life, and Franck profited fromthe experience. "He confided in his pupils that from thence on he would never write like that again." [51]
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In 1888, Franck tried his hand again at another opera, Ghiselle. It was more sketched out than composed andFranck never completed it. In contrast, a massive Quartetfor strings was completed and performed in April1890, and was well-received by public and critics. There had been other recent successes, including his ownperformances as concert pianist in and around Paris, an enthusiastic reception of a revival of Psychof a coupleof years earlier, and performances of works by various of his pupils. In addition, he was still playing Sundayimprovisations to usually large congregations at Sainte-Clotilde. He had in mind major works for organ and

possibly a sonata.

In early May, 1890, Franck was riding in a cab which was struck by a horse-drawn trolley, injuring his head andcausing a short fainting spell. There seemed to be no immediate after-effects; he completed his trip and hehimself considered it of no import. However, walking became painful and he found himself increasinglyobliged to absent himself first from concerts and rehearsals, and then, beginning in July, to give up his lessonsat the Conservatoire. He took his vacation as soon as he could inNemours, where he hoped to work on theproposed organ pieces as well as some commissioned works forharmonium. He was able to start on bothprojects while on vacation, and to continue when he returned to Paris. Franck could not complete theharmonium collection, but the organ pieces were finished in August and September 1890. They are the TroisChorales, of which Vallas says "Their beauty and importance are such that they may be properly considered as

a kind of musical last will and testament."[52]They are among the great treasures of organ literature and form aregular part of the repertory today.

Franck started the new term at the Conservatoire in October, but caught a cold mid-month. This turned intopleurisycomplicated bypericarditis. After that, his condition rapidly worsened and he died on 8 November. (Apathologist writing in 1970 observed that, while Franck's death in November has traditionally been linked to hisinjury in May, and there may have been a connection, the respiratory infection by itself could have led to aterminal illness. Given the then lack of antibiotics, this "could not be considered an unusual pattern forpneumonia in a man in his seventh decade."[53])

Franck's funeral mass was held at Sainte-Clotilde, attended by a large congregation includingLo Delibes

(officially representing the Conservatoire), Saint-Sans,Eugne Gigout,Gabriel Faur,Alexandre Guilmant,Charles-Marie Widor(who succeeded Franck as professor of organ at the Conservatoire), anddouard Lalo.[54]Emmanuel Chabrierspoke at the original gravesite at Montrouge.[55]Later, Franck's body was moved to itscurrent location atMontparnasse Cemeteryin Paris, into a tomb designed by his friend, architectGaston Redon.A number of Franck's students, led byAugusta Holms, commissioned a bronze medallion fromAugusteRodin, a three-quarter bust of Franck, which in 1893 was placed on the side of the tomb.[56]In 1904, amonument to Franck by Alfred-Charles Lenoir, Csar Franck at the Organ, was placed in the Square Samuel-Rousseau across the street from Sainte-Clotilde.[57]

Music

Further information:List of compositions by Csar FranckandCategory:Compositions by Csar Franck

Many of Franck's works employ "cyclic form", a method of achieving unity among several movements in whichall of the principal themes of the work are generated from a germinal motif. The main melodic subjects, thusinterrelated, are then recapitulated in the final movement. Franck's use of "cyclic form" is best illustrated by hisSymphony in D Minor (1888). His music is oftencontrapuntallycomplex, using aharmonic languagethat isprototypically lateRomantic, showing a great deal of influence fromFranz LisztandRichard Wagner. In hiscompositions, Franck showed a talent and a penchant for frequent, gracefulmodulationsof key. Often these
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ttp://en.wikipedia.org/wiki/C%C3%A9sar_Franck#cite_note-53http://en.wikipedia.org/wiki/%C3%89douard_Lalohttp://en.wikipedia.org/wiki/Charles-Marie_Widorhttp://en.wikipedia.org/wiki/Alexandre_Guilmanthttp://en.wikipedia.org/wiki/Gabriel_Faur%C3%A9http://en.wikipedia.org/wiki/Eug%C3%A8ne_Gigouthttp://en.wikipedia.org/wiki/L%C3%A9o_Delibeshttp://en.wikipedia.org/wiki/C%C3%A9sar_Franck#cite_note-52http://en.wikipedia.org/wiki/Pericarditishttp://en.wikipedia.org/wiki/Pleurisyhttp://en.wikipedia.org/wiki/C%C3%A9sar_Franck#cite_note-51http://en.wikipedia.org/wiki/Harmoniumhttp://en.wikipedia.org/wiki/Nemours

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modulatory sequences, achieved through apivot chordor through inflection of a melodic phrase, arrive atharmonically remote keys. Indeed, Franck's students report that his most frequent admonition was to always"modulate, modulate." Franck's modulatory style and his idiomatic method of inflecting melodic phrases areamong his most recognizable traits.

Franck had huge hands, capable of spanning twelve white notes on the keyboard .[58]This allowed him unusual

flexibility in voice-leading between internal parts infugalcomposition, and in the size of the repeated chordswhich are a feature of much of his keyboard music.

The key to his music may be found in his personality. His friends record that he was "a man of utmost humility,simplicity, reverence and industry."Louis Vierne, a pupil and later organist titulaire of Notre-Dame, wrote inhis memoirs that Franck showed a "constant concern for the dignity of his art, for the nobility of his mission,and for the fervent sincerity of his sermon in sound. . . . Joyous or melancholy, solemn or mystic, powerful orethereal: Franck was all those at Sainte-Clotilde."[59]That appraisal applies well to all Franck's approach tomusic.

LegacyUnusually for a composer of such importance and reputation, Franck's fame rests largely on a small number ofcompositions written in his later years, particularly hisSymphony in D minor(188688), theSymphonicVariationsfor piano and orchestra (1885), thePrelude, Chorale and Fuguefor piano solo (1884), theSonata forViolin and Piano in A major(1886), the Piano Quintet in F minor (1879), and the symphonic poemLe Chasseurmaudit(1883). The Symphony was especially admired and influential among the younger generation of Frenchcomposers and was highly responsible for reinvigorating the French symphonic tradition after years of decline.One of his best known shorter works is the motet settingPanis Angelicus, which was originally written for tenorsolo with organ and string accompaniment, but is also arranged for other voices and instrumental combinations.

As an organist he was particularly noted for his skill inimprovisation, and on the basis of merely twelve majororgan works, Franck is considered by many the greatest composer of organ music after J. S. Bach. His workswere some of the finest organ pieces to come from France in over a century, and laid the groundwork for theFrench symphonic organ style. In particular, his Grande Pice Symphonique, a 25 minute work, paved the wayfor the organ symphonies ofCharles-Marie Widor,Louis Vierne, andMarcel Dupr.

Csar Franck exerted a significant influence on music. He helped to renew and reinvigorate chamber musicanddeveloped the use of cyclic form.Claude DebussyandMaurice Ravelremembered and employed the cyclicform, although their concepts of music were no longer the same as Franck's. Relating Franck as organist andcomposer to his place in French music, Smith states that "the concept of Csar Franck as organist andundisputed master of nineteenth-century French organ composition pervades nearly every reference to hisworks in other media.[60]

Operas and works for stage
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Stradella (1841) Le Valet de ferme (185153) Hulda(188285) Ghiselle(1889)

[edit] Symphonic music Ce qu'on entend sur la montagne (symphonic poem after Victor Hugo, 184587, op. posth.) Rdemption (symphonic poem for soprano, chorus and orchestra, 1872, rev. 1874) (M. 52) Les olides (symphonic poem, 1876) Le Chasseur maudit(symphonic poem, 1882) (M. 44) Les Djinns (symphonic poem for piano and orchestra, 1884) (M. 45) Symphonic Variationsfor piano and orchestra (1885) (M. 46) Psych(symphonic poem for orchestra and chorus, 188688) (M. 47) Symphony in D minor(188688) (M. 48)

[edit] Masses Messe solennelle (M. 59, 1858) Messe trois voix (M. 61, 1860, version of 1872 replaced the offertoryO salutarisfor bass[citation needed]

with the well known ariaPanis Angelicus)

[edit] Other choral music

Ruth (oratorio for soloists, chorus and orchestra) (M. 51) Panis Angelicus(for voice, harp, cello, and organ, 1872; also included in Messe trois voix M. 61)

Quae est ista (offertorium, 1871) Les Batitudes (oratorio for chorus, soloists, and orchestra, 1881) (M. 53) Rebecca (cantata for voices, chorus and orchestra, 18801881) (M. 54)

[edit] Unpublished choral music

Le valet de ferme (unpublished comic opera, 185153) Three cantatas

o Cantique de Mose (cantata, 1881)o Plainte des isralites (cantata, 1865)o La tour de Babel (cantata, 1865)

Les sept paroles du Christ(oratorio)[edit] Organ or harmonium

Andantino in G minor (1857) Trois Antiennes (1859) 44 Petites Pices (18581863) Six Pices, Op. 16-21 (published 1868)
http://en.wikipedia.org/wiki/Hulda_%28opera%29http://en.wikipedia.org/wiki/Hulda_%28opera%29http://en.wikipedia.org/wiki/Ghisellehttp://en.wikipedia.org/wiki/Ghisellehttp://en.wikipedia.org/w/index.php?title=List_of_compositions_by_C%C3%A9sar_Franck&action=edit&section=2http://en.wikipedia.org/wiki/Le_Chasseur_maudit_%28Franck%29http://en.wikipedia.org/wiki/Le_Chasseur_maudit_%28Franck%29http://en.wikipedia.org/wiki/Symphonic_Variations_%28Franck%29http://en.wikipedia.org/wiki/Symphonic_Variations_%28Franck%29http://en.wikipedia.org/wiki/Symphony_in_D_minor_%28Franck%29http://en.wikipedia.org/wiki/Symphony_in_D_minor_%28Franck%29http://en.wikipedia.org/w/index.php?title=List_of_compositions_by_C%C3%A9sar_Franck&action=edit&section=3http://en.wikipedia.org/w/index.php?title=O_salutaris&action=edit&redlink=1http://en.wikipedia.org/w/index.php?title=O_salutaris&action=edit&redlink=1http://en.wikipedia.org/w/index.php?title=O_salutaris&action=edit&redlink=1http://en.wikipedia.org/wiki/Wikipedia:Citation_neededhttp://en.wikipedia.org/wiki/Wikipedia:Citation_neededhttp://en.wikipedia.org/wiki/Wikipedia:Citation_neededhttp://en.wikipedia.org/wiki/Panis_Angelicushttp://en.wikipedia.org/wiki/Panis_Angelicushttp://en.wikipedia.org/wiki/Panis_Angelicushttp://en.wikipedia.org/w/index.php?title=List_of_compositions_by_C%C3%A9sar_Franck&action=edit&section=4http://en.wikipedia.org/wiki/Panis_Angelicushttp://en.wikipedia.org/wiki/Panis_Angelicushttp://en.wikipedia.org/w/index.php?title=List_of_compositions_by_C%C3%A9sar_Franck&action=edit&section=5http://en.wikipedia.org/w/index.php?title=List_of_compositions_by_C%C3%A9sar_Franck&action=edit&section=6http://en.wikipedia.org/w/index.php?title=List_of_compositions_by_C%C3%A9sar_Franck&action=edit&section=6http://en.wikipedia.org/w/index.php?title=List_of_compositions_by_C%C3%A9sar_Franck&action=edit&section=5http://en.wikipedia.org/wiki/Panis_Angelicushttp://en.wikipedia.org/w/index.php?title=List_of_compositions_by_C%C3%A9sar_Franck&action=edit&section=4http://en.wikipedia.org/wiki/Panis_Angelicushttp://en.wikipedia.org/wiki/Wikipedia:Citation_neededhttp://en.wikipedia.org/w/index.php?title=O_salutaris&action=edit&redlink=1http://en.wikipedia.org/w/index.php?title=List_of_compositions_by_C%C3%A9sar_Franck&action=edit&section=3http://en.wikipedia.org/wiki/Symphony_in_D_minor_%28Franck%29http://en.wikipedia.org/wiki/Symphonic_Variations_%28Franck%29http://en.wikipedia.org/wiki/Le_Chasseur_maudit_%28Franck%29http://en.wikipedia.org/w/index.php?title=List_of_compositions_by_C%C3%A9sar_Franck&action=edit&section=2http://en.wikipedia.org/wiki/Ghisellehttp://en.wikipedia.org/wiki/Hulda_%28opera%29

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Fantaisie in C major Grande Pice Symphonique in F-sharp minor Prelude, fugue et variation in B minor Pastorale in E major Prire in C-sharp minor Final in B-flat major

Trois Pices (1878) Fantaisie in A major Cantabile in B major Pice hroque in B minor

Andantino (1889) Trois Chorals (1890)

Choral in E major Choral in B minor Choral in A minor

The incomplete collection of 59 short works known as "L'Organiste" was written for theharmoniumandis most often played on organ (18891890).

Piano

Prlude, chorale, et fugue(1884) Danse lente (1885)

Prlude, aria, et final (1887) Miscellaneous early works which even his disciple D'Indy dismissed as showpieces

Chamber music

Trios concertants pour piano, violon et violoncelle Op.1 & Op.2 (Four piano trios) (1840)o Trio concertant Op.1 No.1 in F# minor (M. 1)o Trio concertant Op.1 No.2 "Trio de salon" (M. 2)o Trio concertant Op.1 No.3 (M. 3)o Trio concertant Op.2 (M. 4)

Piano Quintet in F minor (187879) (M. 7) Violin Sonata in A major(1886) (M. 8) String Quartet in D major (188990) (M. 9) Andantino Quietoso in E flat minor Op. 6 for violin and piano (M. 5) Grand Duo for piano and violin concertante in B flat major Op. 14 on motives from Gulistan by

Dalayrac (M. 6)
http://en.wikipedia.org/wiki/Harmoniumhttp://en.wikipedia.org/wiki/Harmoniumhttp://en.wikipedia.org/wiki/Harmoniumhttp://en.wikipedia.org/wiki/Prelude,_Chorale_and_Fugue_%28Franck%29http://en.wikipedia.org/wiki/Prelude,_Chorale_and_Fugue_%28Franck%29http://en.wikipedia.org/wiki/Violin_Sonata_%28Franck%29http://en.wikipedia.org/wiki/Violin_Sonata_%28Franck%29http://en.wikipedia.org/wiki/Violin_Sonata_%28Franck%29http://en.wikipedia.org/wiki/Prelude,_Chorale_and_Fugue_%28Franck%29http://en.wikipedia.org/wiki/Harmonium

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Documents

César Franck (1822 - 1890)