Franck, César, S1: Life 177

organist J.A. Schandroch

ofthe Bratislava (1710—80)was
discovered in 1962, in stitnik evangelical rectory; A. Totnasello: Music and Ritual at Papal Avignon (diss.,
U. of Michigan, 198.3), 226
includesone harpsichord dance ('Polonicus') and five ILeo. Korth: Studien Kantilenensatz i/" Iriihett IS. Jahrhundert:
short pieces designed to meet
organpreludes, the practical "lit ansteecbselbaren Contratenores (Munich,
eedsof organists. Francisci also left an Introductio in 1986), 18-20
generalentbassum, known only in a manuscript copy in a N.E. Wilkins, ed.: /lnnes, 'l"jottrs, (1/1"te.s,chevalerie: an Anthology
011"'t'tjc/'Songs trot/' t/"' Ilonrteent/' (',entury (Fulbourn, Camb%.,
volumeFund,vnenta 'nusicae (in the Tranovsky l,ibrary, 1987),
Mikulå9.
Liptovsk$'
BIBLIOGRAPHY
Franciscus Vcnctus, See ANA, J/RAN(
esHS:
J. Branberger: •K déiinåm hudby na Slovensku' ll•listory of nutsic in Francisquc, Anthoinc IAntoincl (b St (Quentin, c 157.5;d
Slovakia), Nase slot'ensko, iii ( t 909—10).209 Paris, bur. 5 ()ct J"rcnchcomposcr and lutcni%t.At
G. eernu.Qk and V. Helfert, eds.: Pazdirktiv hudebnislovnik nauöny first hc lived at Catnbrai, whcrc hc marricd in 1596.
[Pazdirek'stnusic dictionaryl, ii/l (Brno, 1937)
Shortly afterwards hc rnovcd to Pari%.HC to havc
K. Hudec: Hudba v Banskei Bystrici do 19. storo&ia IMusic in
BanskåBystricaup to the 19th century) (Liptovskf' Mikulåsx, practiscd his art in thc circlc of thc Princc of Condé, to
1941),44ff whom he dcdicatcd loc trésor and soon won
MARIA JANA TERRAYOVÅ
great renown.
Francisco de Novo Portu. See MERGOT,FRANCISCUS. Francisquc's only known rnusic is the 70 piece;
constituting Le trésor d'Orphée: livre de tablature de luth
Franciscus,Magister (fl 1370—80).French composer. He (Paris, 1600/R; transcr. for piano, J9()6). It consists
may be the F. Andrieu who, according to two texts by mainly of dances: passamezzos, pavans, galliards, cou-
EustacheDeschamps, composed the four-part ballade rantes, branles, voltes and gavottes, the last-named among
Annes,amours/O flour des flours mourning the death of the earliest known ones. There are also a few preludes
Machaut in 1377 (facs. in Gennrich, pl. 16; ed. in Ludwig, and fantasias. Some pieces are arrangements of then
1926,Apel, 1970, and Greene, 1982). It is also possible current popular tunes: they include La Cassandre (already
that he was the Franciscus de Goano who was chaplain found in Arbeau's Orchésographie, 1588), a galliard
of the papal choir at Avignon under Gregory XI and 'faicte sur une volte de feu Perrichon' and Lassus's
ClementVII but died in 1404; alternatively he could be Susanneung jour. Most of these pieces use the normal
lute tuning but a few branles require a
theJohannes Franchois or Franciscus, documented from
nine-courselute with a lower tuning (å cordes avalées).
1378to 1415, who was a singer in the chapels of Pope The collection ends with instructions for converting all
ClementVII, Dukes Philip the bold and John the Fearless types of lute tablature into staff notation and vice versa.
of Burgundyand Dauphin Louis of Guienne (who in his
BIBLIOGRAPHY
turn has been wrongly identified as the composer Johannes
Franchois de Gemblaco, see Wright). Two three-voice M. Brenet: 'Notes sur l'histoire du luth en France', RMI, vi (1899),
1—44;pubd separately (Turin, 1899/R)
ballades are ascribed 'Magister Franciscus' in F-CH 564; L. de La Laurencie: 'Les luthistes Charles Bocquet, Antoine
both are reminiscent of Machaut's mature style. De Francisqueet Jean-Baptiste Besard', RdM, vii (1926), 69—77,
Narcissus(ed. in Apel, 1950 and 1970, and in Greene, 126-33
L. de La Laurencie: Les luthistes (Paris, 1928)
1981),composed before 1376, was widely diffused at the L. Lesca: 'Antoine Francisque, joueur de luth et compositeur',
time,and occurs in versions with different contratenors. Musique ancienne, xix (1985), 45—56 JOEL DUGOT
Phiton,Phiton, beste tres venimeuse (facs. in Gennrich,
pl.10, and MGGI, iv, pl.28; ed. in Wilkins, 1966, Apel, Franck, César(-Auguste-Jean-Guillaume-Hubert) (b Liége,
1970, and Greene, 1981) dedicated to Gaston Fébus, 1() Dec 1822; d Paris, 8 Nov 1890). French composer,
Count of Foix, quotes the opening of Machaut's ballade teacher and organist of Belgian birth. He was one of the
38, Phyton, le mervilleus serpent, written after 1369. leadingfiguresof French musical life during the second
BIBLIOGRAPHY half of the 19th century.
de
A.HÆ.de Queux de Saint Hilaire, ed.: Oeuvres complétes
EustacheDeschamps, i (Paris, 1878), 243—6 1. LIFE. Franck's cultural origins have been the subject
F. Ludwig, ed.: Guillaume de Machaut: Musikalische
Werke, i of some dispute. Before 1830 Liege was officially part of
(Leipzig,1926/R); ii (Leipzig, 1928/R), 27
und der ersten
the French-dominatedWalloon district of what later
F. Gennrich:Abriss der Mensuralnotation des XIV. 2/1965)
1948,
became Belgium. His mother's ancestry was wholly
(Nieder-Modau,
Hälftedes XV. Jahrhunderts
Fourteenth Century German; the family of his father Nicholas-Joseph, a minor
W. Apel, ed.: French Secular Music of the Late clerk who was unemployed at the time of his elder son's
(Cambridge,MA, 1950)
G.Reaney: 'The Manuscript Chantilly, Musée
Condé 1047', MD, birth, came from Gemmenich near the German border.
viii (1954), 59—113,esp. 67, 96 [with edn of Phiton, Phiton] The combination of early precocity, an Irresponsible and
der Ars Subtilior',
U.Günther: 'Zur Biographie einiger Komponisten ambitious parent and an age which féted prodigies less
AMW, xxi (1964), 172-99, esp. 182,
186
MD, xix (1965),
discriminately than a previous one resulted inevitably in
U.Günther: 'Eine Ballade auf Mathieu de Foix', and
a childhood and adolescence scarred by exploitation, full
69-81, esp. 70 front the Codex Reina, perhaps contributed to the late maturing of Franck's
N.E.Wilkins, ed.: A 14th-Century Repertory him
creative powers. In October 1830 his father enrolled
Repertoire des Liege Conservatoire where he rapidly gained
U.Günther: 'Bemerkungen zum älteren französischen at the (Jalheau's
CodexReina', AMw, xxiv (1967), 237—52the Fourteenth premiers prix for solfége in 1832 and piano harmony
W.Apel,ed.: French Secular Compositions of 1833 to 1835 he studied
class) in 1834. From
of Mehul who
(Henryville, PA, 1979), with the director, Dausscngne, a nephew Encouraged by
C. Wright:Music at the Court of Burgundy had taught at the Paris Conservatoire.
organued a series ot
Chantilly, Musée
G•Greene,ed.: French Secular Music: Manuscript 18, 84 these academic successeshis father
nos.16,
condé 564, PMFC, xviii-xix (1981-2),
 178 Franck, César, S1: Life
concerts in Liége, Brussels and Aachen in spring 1835.
Franck's earliest surviving compositions, trivial show-
pieces and operatic fantasies å la mode, were written in
connection with these and subsequent exhibitions. In May
1835 the Franck family moved to Paris. An assault on the
Parisian audiences was by then almost a pre-ordained
step, and fortunately the plan of campaign included piano
lessons with Zimmerman and a course in harmony and
counterpoint with the renowned Reicha, teacher of
Berlioz, Liszt and Gounod, though predictably Franck's
much publicized début passed without mention. Having
been refused entry to the Paris Conservatoire on grounds
of nationality, he then waited a year while his father
secured naturalization papers. He was finally enrolled on
4 October 1837, with Zimmerman again for piano and
Leborne for counterpoint, quickly repeating his provincial
achievementswith premiers prix in 1838 (piano) and
1840 (counterpoint). He then studied with Berton, and
prepared for the Prix de Rome, although he did not
actually enter the competition. A year in Benoist's organ
class failed to produce anything more than a second prix
(1841) and he was finally withdrawn by his father from
study in April 1842 in order to concentrate on a career as
a virtuoso making a concert tour in Belgiumin 1843.
What might have proved a serious setback to a career
in composition was mitigated in part by the encouraging
subscription to Franck's Trios op. 1, written over the
previous three years, which appeared in spring 1843; the
purchasers included Meyerbeer, Liszt, Donizetti, Halévy,
Chopin, Thomas and Auber. On Liszt's advice, Franck
transferred the finale of his trio op. 1 no.3 to his trio op.2
no.4. Although probably conceived in the summer of
César Franck:photograph by Pierre Petit
1843, his first large-scale work, the biblical oratorio Ruth
was not completed until 1845 for during this time the
pressure of engagements had resulted in a serious illness. playing of the Belgian Lemmens he was probably
His career as a virtuoso was already markedly declining determinedduring this period to extend his technique,
particularly at the pedal-board, and to develop his already
and this, added to the poor reception accorded the first prodigious improvisatory skill.
performance of Ruth on 4 January 1846 (even though the The start of a new phase of Franck's career has rightly
recent success of David's Le désert, with which Ruth was been attributed to his appointment, early in 1858, as
unfavourably compared, augured well for a work of organist of the newly completed basilica of Ste Clotilde
oriental character), undoubtedly led to a worsening of his where, assisted by the aging Lefébure-Wély, he inaugu-
already strained relations with his disappointed father. rated one of Cavaillé-Coll's finest instruments on 19
During the summer of 1846 he formally quitted his December 1859. Although at first he may have been
parents' house. To support himself, in addition to taking chiefly concerned to provide suitable service music,
on private pupils, he taught at various public schools and including the mass for three voices to which he later added
religious institutions in the city and further supplemented the famous setting of Panis angelicus,it was his after-
his income by obtaining the post of organist at the church service extemporizations that quickly became a public
of Notre Dame de Lorette in 1847. attraction; they appeared in tangible form as his first
Thereafter much of Franck's time was spent at the major work, the Six pieces, completed over the following
house of his fiancée, Félicité Saillot Desmousseaux, whose two years. Considered in comparison with contemporary
parents were actors at the Comédie-Franqaise. His French organ music the Six piéces indeed represent a
tyrannical father was opposed to the engagement, though remarkable achievement. Liszt, Franck's friend and cham-
he and Franck's mother grudgingly appeared at the pion, proclaimed them worthy of a 'place besidethe
marriage service which took place at Notre Dame de masterpieces of Bach'. Their accomplishment was not
Lorette amid the preliminary fusillades of the 1848 June followed up, however, and the ensuing decade provedno
days. During the idyllic period of his betrothal Franck
Ex.I Rédemption (first version), symphonic interlude
had written a symphonic poem entitled Ce qu'on entend
sur la montagne. Another large-scaleunpublished com-
position, the opera Le valet de ferme, dates from the early
years of his marriage; however, no more works of any
consequence appeared for ten years. In 1851 he was
appointed organist of St Jean-St Frangois in the Marais,
which possessed an early organ by the brilliant builder
Cavaillé-Coll, to whose firm Franck was then attached as
an 'artistic representative'. Having been inspired by the
 Franck, César, S2: Works 179
more productive than the previous one, apart from a Rébccca, and later the ill-fated I-lulda. Two more
numberof short organ pieces (published posthumously)
and several motets, together with three curious cantatas, symphonic poems soon followed, Le chasseur maudit and
Les Djinns; thc lattcr, along with thc Quintet, signalled
the Cantique de Moise, the Plainte des israélitcs and La thc reawakening of his intcrcst in the piano, which found
and the oratorio
tour de Babel, Les sept paroles du Christ,
further cxprcssion in thc Prélude, choral et fugue and the
which all remained in manuscript. It was during this Variations symphoniques. On 6 August 1885 he was
creativelyfallow period that he was unwittingly laying awarded thc cross of thc Légion d'Elonncur; a year later
the foundations of a remarkable phenomenon of 19th- his election as president of thc Société Nationale set off
century French culture: the cluster of pupil-disciples an odious confrontation bctwccn thc majority party of
known as the bande Franck. One of his part-time his own lieutenants (recently joincd by Chausson) and the
teaching posts was at the Jesuit college in the rue disillusioned, reactionary Saint-Saéns. But thesc conflicts
Vaurigard, where his pupils included Henri Duparc and were not reflectedin his important compositions of that
Arthur Coquard. Although the latter received instruction summer of 1886: the sunny Violin Sonata and the sensual,
in harmony from 1865 to 1866 he was then intent on a at times frankly erotic, symphonic poem Psyché.
career in law and did not resume contact with the group The year 1887 opened with an ambitious Franck
until after the Franco-Prussian War. Meanwhile Duparc festival concert in the Cirque d'Hiver, conducted jointly
had establishedhimself as the leader of the embryonic by the composer and the unsympathetic Pasdeloup.
brotherhood (augmented by Albert Cahen) and in 1868 Characteristically, the disastrous performances embar-
took the decisive step of introducing Franck, their beloved rassed all but the undaunted Franck himself, who, in
'Pater seraphicus', to Alexis de Castillon, who was later addition to writing a second triptych for piano, was
to become the first secretary of the Société Nationale de making the first sketches for the Symphony. One more
Musique. The society loyally included Franck's Trio de abortive operatic scheme occupied him for a further year,
salon op.I no.2 in the programme of its first concert on but soon after abandoning the orchestration of Ghiselle
25 November 1871, and subsequently gave first perform- to his pupils he began the String Quartet, a masterly
ances of many of his important works. But belated distillation of his harmonic-contrapuntal idiom, whose
recognitionhad already begun a month earlier with a hyper-intensity he passed on to his last pupil, Guillaume
favourably received performance of the revised version of Lekeu. His final works written during summer 1890 were
Ruth, and the end of Franck's obscurity was signalled by the complex Trois chorals and a collection of pieces (for
his nomination to succeed Benoist as professor of organ harmonium) of which only 59 of a projected 91 (seven
pieces for each of the 13 chromatic keys from C to C)
at the Conservatoire. For this appointment he found it were finished. He was working on them when he died
on
necessaryto apply for French citizenship. weeks
in 8 November, a chill which he had contracted a few
In October 1872 Vincent d'Indy became a studentthe earlier having developed into pleurisy. Among those
Franck's organ class, which was by then assuming
and in the present at his funeral service two days later were Fauré,
status of an unofficial composition seminar, oratorio, Bruneau, Widor, Lalo and, delivering the oration, Cha-
following month the first version of a new d'Indy this brier. The Conservatoire was represented by Delibes;
the
Rédemption, was completed. According tohis principles Ministry of Fine Arts neglected to send a delegate.
applied
was the first work in which Franck in the first
architecture'; there are passages
of 'tonal which suggest his Ex.2
symphonic interlude (later discarded) performance
(a) 5th Béatitude
The first
mature harmonic idiom (ex.l).
unfortunately, owing less to
took place on 10 April 1873; copied parts and
its own obvious defects than to badly of Colonne, the
unusuallyinept conducting on the part
was a miserable failure.
work, given without the interlude, and his initial
Franck's disappointment was bitter, score only gradually
reaffirmationof confidence in his d'Indy of the need
and
gave way to persuasion by Duparc eventually achieved a
11

to remodel it. (The revised work

critics, but not until six
real success with the public and In November 1874 he (b) Les Eolides

years after the composer's death.)Tristan und Isolde, the

heard the prelude to Act 1 of
reflected in his subsequent
direct influence of which is especially in the opening of
organ and orchestral music,
1875, and most strikingly
the fifth Béatitude, completed in in the following year
Of all in Les Eolides, completed
(ex.2).
creative phase of tremen- 17
Franck was entering upon aunabated until his death,
dous intensity which lasted style were
had to be fitted into the Many features of Franck's Grace
although most of his composition the Trois pieces for
2. WORKS.
years at Ste Clotilde;
summer holidays. Except for writing organ at the Palais established during the early the themes of the Grande
the inauguration of the Cavaillé-ColIalmost nothing else (1948) confidently compared (1886-8);
and the Symphony B major
du Trocadéro (1878), he worked onbéatitudes (begun in piece symphonique (1863) the
resemblances between movement
but the monumental oratorio Les there are also melodic slow
in July 1879. By Grande piéce and the
1869)from 1875 until its completion soon Andante of the early (1889). The basis of Franck's
begun the Piano Quintet and oratorio, of the string Quartet
then he had already began another
after its successful premiere, he
180 Franck, S2: Works
Ex.3 rn•tude, ct tusuc.schorale of thematic dcvclopmcnt to a harmonic context;a
chord
pair, for instance, may bc rcpcatcd with a slightalteration
to the second chord, resulting in a stronger implied
rail. P '"Olto espress.
sforzando (Violin Sonata, third movcmcnt, bar; 17-1%)
The tcchniquc may also be applied to wholc phrases,
With
more than onc element being subjected to variation.
again, the Six pieces furnish a prototype (Fantaisie,bar
30 9—12).Franck was particularly fond of incorporating
these motifs into a bar-form (AAB) phrase structure;a
good example is the second subject of the first movement
of the Quintet. Much of the slow movement of thiswork
is organized on the same principle; thus, bars 1—4maybe
thematic material is the symphonic phrase, a paradoxical analysed as Stollen (bar 1), Stollen (bar 2; chord on third
compound of rhetorical and passive elements which is beat varied) and Abgesang (bars 3 and 4; cadentialfigure
paralleled linguistically by Jean-Aubry's (1916) descrip- derived from the preceding two bars). Franck'searly
tion 'serene anxiety'. Often Franck developedcomplex explorations in the juxtaposition of chords had repercus.
phrase structures using a kind of mosaic of variants of sions in the music of a later generation,notablythatof
one or two germinal motifs, a techniquewhich again Debussy, for whom the concept of contrasting harmonic
underlines his indebtedness to Liszt; two late piano works, colours was fundamental: his Les sons et les parfums
the Prélude, choral et fugue and the Prélude, aria et final (1910) begins with the varied repetition of a chord pair.
illustrate this procedure in its most developed and refined Franck's formal procedures ranged from the simplistic
state (ex.3). dovetailing of ternary and sonata forms in the first
If one admits d'lndy's proposition of a major stylistic movement of the Quartet to the complex synthesisof the
gap between Rédemption (1871—2)and Les Eolides Variations symphoniques. The architectural principle
(1875—6),one must concur with his biassed assumption with which his name is linked, cyclic form, sprang
that Franck's later compositions are principally identifia- originally from two distinct sources: Beethoven's dramatic
ble by their preoccupation with harmonic techniques recall of previously heard themes, and the monothematic
deriving from Tristan und Isolde. A very rich strain of procedure whereby a number of movements employ
chromaticism is indeed a consistent feature of his mature variants or 'transformations' of the same material,as in
works, and still more of the works of a number of his Schubert's Wanderer Fantasy and E major Quartet
pupils, where it often appears as a complex undercurrent op. 125. Both these models have been suggestedas the
to a less involved surface, with relatively diatonic melodies inspiration behind Franck's remarkable Trio in F$ minor,
harmonized in the style of Tristan. However, many non- but a more likely blueprint is to be found in the early
harmonic features of Franck's 'late' manner were present piano sonatas of Mendelssohn and the Scherzoof his
at an earlier date than that suggested by d'lndy, and, as early Piano Quartet in B minor, which is distinctlyechoed
previously noted, his earliest flirtations with Tristanesque in the corresponding movement of Franck's Trio. It was
harmony began at least with the fifth Béatitude, written Liszt's achievement to have welded the two principlesof
some time before 1875. The bowdlerized version of the thematic recall and monothematicism into a monumental
opening of the Tristan prelude found in Les Eolides was formal process which could unify a multi-movementcycle
only a step towards the high chromaticismof the final or even, in Les préludes and the Piano Sonata, encompass
works, which he had to some extent used even before his them all in a continuous sonata first movementplan.
acquaintance with Wagner's opera. The foundation of his Apart from the Trio, where the use of the cyclictechnique
chromatic procedures,like Wagner's in Tristan, is the savours of something of an intellectual exercise, Franck's
juxtaposition of tonally unrelated chords by means of first important attempt at this kind of unification wasthe
logical part movement; in this they had a common source Grande piéce symphonique, which shows clearly his
(ex.4), although Wagner was to explore the association immeasurable debt to the music of Liszt's Weimar years.
of much more distantly related harmonies. Yet another large-scale single-movement compositionis
the Prélude, choral et fugue, whose chromatic generating
Ex.4 Beethoven: Sonata in F op. 54, 2nd movt, bars 37—43:harmonic scheme
motif (later becoming the fugue subject) further empha-
sizes his underlying relationship to Liszt, irrespectiveOt
the inroads the music of Wagner had made on his
sensibilities. Despite its lack of conventional breaks
An outstanding feature of Franck's harmonic language between movements, the work basically conforms to the
is his use of the 'chord pair' (as in bars 1 and 2 of Les three-movement plan which Franck found mostcongetlial.
Eolides) where the second chord carries with it the He had already experimented with the triptych formOf
impression of a sforzando, A classical formulation of this Beethoven's Les adieux sonata in some of his early piano
device appears in the ninth bar of the first movementof works and later in a number of the Six pieces.Of the
the Violin Sonata, but it also occurs in much earlier pieces, the
other instrumental music, only the Violin Sonata and
Rédemption
as in the first symphonic interlude fromwith Franck's Quartet deviate from this tripartite layout, to whichall
(quoted above). It is often associated the important instrumental works of his pupils also
characteristic iambic rhythm in the attendant melody (see conform.
often applied his method the
ex.5), as in the Violin Sonata. He No appraisal of Franck's total output can ignore Of
Ex.5 wide qualitative gulf separating the broad categories
vocal and instrumental music. Surprisingly for a skilled
or contrapuntist his choral writing too often suffersfrom
 Franck, César•.Works 181
unrelieved hotnophony•, the discrepancy nut)'
work like Psyché in which the bc seen in to hiq discIPlcq,and thc Ititcnsc Ititcrcst in chambcr music
hybrid
simply disfigure the retnaindcr. lixecpt choral
in
sections shown by ( frotn thc trjorncntof his becoming a
instanceshe was unable to tuakc
one or two qt0(lcnt of l•rnnck, is pcrhnpq qytnb011Cof thc irnportancc
tnuch of the contentl)0
rary tnélodie (his grasp of prosody was notoriously Of fortnalist'( works for the Franck'St school a wholc.
and the prevailing sentitncntal wenk herc wcrc few precedents
style ot church V•rnncc for such an
mid-19th-centuryFt•anccwas hardly tct•tilc ntuqicin Ittvolvctncnt;those that (lid exist, h thc gcnutncly
soil
his gitts might flourish. Nevertheless.one or in which nco qyrnphotucqof ( ,ounorl And P"tct of 1835
sacred pieces. notably the festal offertory (Quactwo of his and thc carly piano quintet and ptano too by rhc ccIr.•cttc
(IS ¯1), were distinguished additions to thc est ista Saint..Saénq,wcrc isolated Attcrnptsand gjvc littlc hint of
repertory. Franck's cardinal weaknesses includedliturgical what was to follow. Vo his pupils. Franck communicated
of literary discernment and corresponding his lack both thc l"ccthovcman '(Icall%rnjnhcrrnt In the.
rely on the literary tastes of others. and rcadincss to of the strict gcnrcs of symphony, (l'JArtctand sonata and
the
spectrum of experience he could convincingly litnitcd thc harmonic innovations of latc Romanticism. •rhic,
music. The failure of the operas cannot bc cxprcss in doul)lc allegiance to thc Vtcnncc,ctradition on the one
blamed cntircly hand, and to I,iszt and Wagner on the other, was
on their absurd and anachronistic librettos, and
of many magnificent pages, the choral works in spite undoubtedly responsible for rhc self-indulgent massive-
to find admirers, fundamentally because Franck are unlikely ness which characterizes many Franckist works and which
unable to realize their essentially dramatic schemes. was sometimes proved to be a source of stylistic confusion,
stricture is particularly applicable to Rédemption This Cooper (1951) has observed about the Piano -rrto by
where, Lekeu. The finest products of the movement, however,
as has often been remarked, he was lamentably unable to
delineatethe darker aspects of human nature described such as the chamber music and the Symphony of
in
the text, the characterization of Lucifer being utterly Chausson, in whose Piano Trio may be observed the most
ineffectual. Les béatitudes, Franck's magnum opus by direct workings of Franck's influence,align this monu-
which both he and his disciples set so much store, suffers mentality with a sweeping lyricism.
initially from too rigid a formal plan: each of the eight Franck's pupils were attracted to his teaching technique,
sections begins with an exposition of a particular evil, his innate receptivenessto new ideas and his seriousness,
proceeds to a celestial prophecy and concludes with the a quality which stood in marked contrast to the superfi-
voice of Christ intoning words from the Sermonon the ciality of the Opéra-dominated establishment. After 1872
Mount. A certain pedestrianism in melody and rhythm is only a few, including Augusta Holmes and Lekeu, were
exposed by the obsessively chromatic harmony. Yet the taught privately; the majority, often at the instigation of
monolithic design of the total work, in 'tonal architectural' Coquard, attended the organ class where most of Franck's
terms implemented by an identification of psychological composition teaching took place. Although he would
states with specific keys (as with Messiaen a kind of naturally assess individual compositions by members of
cosmic joy is attributed to major), is very impressive his closest circle, his main medium of communication
and ought to preclude anything but a complete perform- seems to have been the improvisation sessions which took
ance. Parts three and four and much of parts five and six up most of the class's time; through these he reached a
represent his outstanding accomplishments on a large wider audience, including such peripheral members of the
canvas. school as Fumet and Lazzari. He was noc primanly
Franck's finest compositional achievement is repre- concerned with keyboard technique, as Vierne and
sented by the symphonic, chamber and keyboard works, Tournemire found to their dismay when later confronted
one of the most distinguished contributions to the field by with Widor. His sphere of influencewas wide: in addition
any French musician —especially the last three chamber to those pupils already mentioned, Charles Bordes, Guy
works, in which Franck found a balance between his Ropartz, Dukas, Bréville,Pierné, Guilmant and Magnard
inherent emotionalism and his preoccupation with coun- passed at some stage through his hands. Few ocher
terpoint and Classical forms. They constitute his legacy teachers can be credited with such an achievement.

WORKS

all published and first performed in Paris, unless otherwise stated; autograph MSS of unpublished works in F-Pc and Pn. Opus nun.bers Italics
refer to Franck's first series, those in roman to his second series and Messe 3 voix; no works composed after 1863 bear opns numbers.
Thematic catalogue of published works in Mohr [M].

STAGE

all printed works in vocal score, unless otherwise stated

Title, genre Acts, libretto Composed Published First pertonnunc•es,•

remarks
3, E. Deschamps vs only
Stradella, op
Le valet de ferme, oc 3, A. Royer and G. Vaez 1851-3
49 4, epilogue, C. Grandmougin, 1879-85 L894 Monte Carlo, S March
Hulda, op 1894; vs arr. Franck
after Bjørnson
(to p. 285) and S.
Rousseau (trom p.285
to end); 2nd edn
1894) abridged
182 Franck, César: Works
Title, genre Contposed Published First
Acts, libretto Performances'
remarks
50 1888-90 1896 Monte Carlo,
Ghiselle, drame lyrique 4, G.-A. Thierry 6 Apnl
1896. Act 1
Franck; Act
orchd
2 P. de
Bréville,
V. d'Indy
Chausson; Act
3 St
Rousseau; Act 4 A
Coquard

LARGE SACRED

all printed works in vocal score, unless otherwise stated

M Title, genre Scoring Text Composed Published First performances;
remarks
Notre-Dame des ?I v, pf Comte de Pastoret c1838 Erard's piano salon,
CIO
orages, cant. Jan 1839, mentioned
in Le ménestrel, 13
Jan 1839; lost
51 Ruth, églogue biblique Solo vv, chorus, orch Bible, With addns 1843—6;rev. 1871 1872 Conservatoire, 4 Jan
by A. Guillemin 1846
Plainte des israélites, Chorus, orch ?c1865
cant.
La tour de Babel, cant. Solo vv, chorus, orch 1865
52 Rédemption, poème- S, female vv, E. Blau
symphonie speaker, orch
First version 1871-2 1872 Concert National
(Colonne), 10 April
1873
Final version, With new 1874 1875 Conservatoire, 15
chorus and March 1875
symphonic interlude
53 Les béatitudes, orat Solo vv, chorus, orch Bible: Matthew v, 1869-79 1880 Franck's apartment, 20
adapted by Mme Feb 1879 (pfacc.);
J. Colomb Dijon, 15 June 1891
(orch acc.); earlier
performances of
individual movts,
Paris, 1878-90
54 Rébecca, scène biblique Solo vv, chorus, orch P. Collin 1880-81 1881 Société Chorale
d' Amateurs Guillotde
Sainbris, 15 March
1881 (pf acc.); Salle
Gaveau, 16 May 1911

ORCHESTRAL

op. Title, genre Composed Published First performance Remarks

Variations brilliantes sur un 1834
thème original
5 Variations brillantes sur l'air du 1834 also arr. solo pf
Pré aux clercs
8 Variations brillantes sur la 1834-5
ronde favorite de Gustave III,
With solo pf
11 Deuxième grand concerto, g, cl 835
With solo pf
13 Première grande symphonie, G 1840 Société d'Orléans,
16 Feb 1841
Ce qu'on entend sur la c184S-7 after V. Hugo
montagne, sym. poem
de
43 Les Eolides, sym. poem 1875-6 1893; arr. 2 pf, Société after Leconte
1892 Nationale, 13 Lisle
May 1877 Bürger
44 Le chasseur maudit, sym. poem 1882 1884; arr. pf4 Société after G.
hands, 1884 Nationale, 31
March 1883
Les Djinns, sym. poem With 1884 1893; arr. 2 pf Société after Hugo
45
solo pf 1892 Nationale, 15
March 1885
46 Variations symphoniques, With 1885 1893; arr. 2 pf, Société
solo pf 1892 Nationale,I
May 1886
 47
n.eq.

-,r.r.ee

1922) f

Gratta
Tunc Z V)
Ssntte 1
Laudate ET.ae —
Z
55 O salaurio, TfM%-,
56—8 ZSZ AclZ5Zv 91
Trois 0
Maria,S, B, Tarn:n E, rxg
(186Sj
59 Mege vAennePe.O saJatzii, B, rxgv
(1858)
IZ5Z
Tendre Marie, cantEL, ?c1Z5Z;c*.-"
(1950)
Les septparou du Christ, cEr•, 70
orch, IZ59
60 Le garde d'honneur, cantide, 17,
- -—VZ—F
1859 (1859); by Mrrz 73
Cantique de Moise. Cantemzs Domino,
orch, pf, cl 860; ?2nd chorus of PEirze des 74
israélites, chorus, or&Jpf, 1860, set Vaus
(1951)
La tour de Babel, orcWpf, 1865
61 12 Messe à 3 voix, STE, orch (Eter reducedto 76
harp, vc, db), 1860 (1872); Ste Clotil&, 2
April 1861
Panis angelicus, T, org hp, vc, db, 1872 (1872);
interpolated in the Messe à 3 voix
62 Ave Maria, STB, org, 1863 (c1863)
63-5 Trois offertoires, 1861 (cl 871): Quae eg iga, 79
solo w, chorus, org, hp, db, orch; for the
Feast of the Assumption; Domine Deus in
simplicitate, STB, org, db; for the Ist Sunday 82 Essa- Sec
in the month; Dextera Domini, solo w, STB,
org, db, orch; for Easter Sunday; 84 Le N-F--A.
66 Domine non secundum, off, STB, org, 1865
(c1865); for a time of penitence 85
67 Quare fremuerunt gentes, off, STB,org, db, 86 Pou ks
orch, 1865 (c1865); for the Feast of St 87 Les -XL
:SSS
68 Veni creator, T, B, org, 1872 (c1876)
69 Psaume, cl, chorus, org, orch, 1883 (Leipzig,
1896)
6 Grand
1-3 1 3 tries Se
SECULARVOCAL
L'Entrée en loge, IV, pf (J.-F. Gail), cl 840 Leipzzg,
La Vendetta, 2vv, pf (A. de Pastout), c1840
4 Quatnèmetrio I SQ
Orphée dans les bois, IV, orch (H. Benton), (Hantburs
c1840 Tno I
6 Andantino et, IS4•4
Agnès Soul, IV, pf (P.-A. Vieilland), 1840
Fernand, 3vv, orch (Pastout), 1841 6 Ier duo, pi, S" I
Gulistan
Loyse de Montfort, 3vv, orch (E. Deschamps
pi str qat,
and E. Pacini), 1841 va. IS N ISM k
inc. Quintette, t, pt, 2
Hymne à la patrie, IV, orch, 1848; orch 7
*lan t SSO
Marlborough, chorus, org, pf, vc, db, 4 obbl Societe Nattoaale,
8 Sonate, A, pt, va, I SSO ISSOk
mirlitons, 1869 Nationale, 31 Des*ISS¯
de L.'), 1870
79 Paris, patriotic ode, T, orch ('B. 9 Quatuor, IX 2 va, ISSO
(1917)•,arr. pf (1917) Nationale, 19 April IS SR)
Hugo), 1871
Patria, patriotic ode, IV, orch (V. 10 Mélancolie, pi 1911 transvt. oi a soltèse
(1917); arr. pf (?c1917) Iesson
poussière, chorus, pf,
Le philistin mordra la
1875; cited by Vallas (1951)
IS4 Franck, César.'Works
Ernelinrle. op by F.A. r )anican Philidor,
(188})
(190 S)'
I vol.", 1NSR
94 rot" Ioneq,op by F.A.
heron, op by p,A, -Philidor,
( 18 S') (c 188 1)
Préludes et prières, org, 1889 ( 18P,9);art". of pf
picces by ( •,.V.Alkan
868): l•'antAisic.(à 97 lyrnnes ,'rcator alme "'derntn, Sanctotnrn
t SS6. mentis, rstc confcqqor), harmong•ntions,
Gtandc Prélude.
2 pf/pf. org(1914)
tus•ucct b, also
hmn, I S• 3 S'.A);Pastorale, Prière,
Final, BIBLIOGRAPHY
34 Quasi marcia, hmtl, cl 862 ( 1868) GENERAL r.rrP.RATt
Oftcttoire sur un air breton, hmn, cl 865 (1867)
Trots Pièces,org, I STS SS.3):Fantaisie, A; FétisB
bleue, xlvi/2C)( 1890), 632—3
Cantabile. PAPièce héroiquc, b C. Bcnoit: 'César Franck', Revue
A. Coquard: César Franck (Paris, 1890); repr. in Monde mustcal
Trois chorals, E, b, a, org, 1890 (1892)
L'organiste.org/hmn, 1889—90:SS picccs pubd (1904)
4 further pieces ed. j. Bonfilsand G. J.G. Ropartz: Notations artistiques (Paris, 1891)
Litaize, as Suite (M42), harmonium (1956) H. Imbert: Portraits et études (Paris, 1894)
Pièces posthumes ( 1905 ) E. Destranges: L'oeuvre lyrique de César Franck (Paris, 1896)
G. Derepas: César Franck: étude sur sa vie, son ensetgnement, son
oeuvre (Paris, 1897, 2/1904)
PIANO
A. Meyer: Les critiques de César Franck (Orleans, 1898)
3 Grand rondo, 1834 V. Debay: 'César Franck', Courrier musical (15 Nov and 1 Dec
5 Variations brillantes sur l'air du Pré aux clercs, 1900)
see under Orchestral P.L. Garnier: L'héroïsme de César Franck: psychologie musicale
s Variations brillantes sur la ronde favorite de (Paris, 1900)
Gustave III, see under Orchestral F. Baldensperger:'César Franck: l'artiste et son oeuvre', Courrier
10 Première grande sonate, 1836 musical (15 May 1901), suppl.
Première grande fantaisie, before 1836 V. d'Indy: 'César Franck, le premier des symphonistes français',
Deuxième fantaisie, before 1836 WeeklyCritical Review (5 March 1903)
15 Deux mélodies, before 1837 Courrier musical (1 Nov 1904) [special Franck issue)
18 Deuxième sonate, before 1838 Monde musical (30 Oct 1904) [special Franck issue]
19 Troisième grande fantaisie, before 1838 P. Dukas: 'César Franck', Chronique des arts, no.33 (1904),273—4
Polka, before 1848 J. Tiersot: 'César Franck', Le ménestrel (23 Oct 1904)
11 3 Eglogue (Hirtengedicht), 1842 R. Canudo: 'Cesar Franck e la giovane scuola musicale francese',
12 4 1er duo sur le God Save the King, pf 4 hands, Nuova antologia, cxvi (1905), 479—88
1842 (cl 845) E.F. Guilbert: 'César Franck', L'enseignement chrétien (1905),suppl.
13 1er grand caprice, 1843 (?c184S) C. Debussy: Monsieur Croche, antidilettante (Paris, 1921, 2/1926',
7 Souvenir d'Aix-la-Chapelle, 1843 (Hamburg Eng. trans., 1927/R), chap. 'César Franck'
and Leipzig, cl 845) M. Boucher: 'L'esthétique de César Franck', ReM, iii/3—5(1921—2),
Deux mélodies; à Félicité, cl 847 29-41
15 8 4 mélodies de François Schubert, 1844 (1844); W. Roberts: 'César Franck', ML, iii (1922), 317-28
arrs. of Die junge Nonne, Die Forelle, Des J. Tiersot: 'Le génie et la pensée de César Franck', Revue de France,
Mâdchens Klage, Das Zügenglôcklein vi (1922), 761-89
9 Ballade, 1844 H. Duparc: 'César Franck pendant le siège de Paris', ReM, ivil—3
16 11 1re grande fantaisie: sur des motifs de Gulistan (1922-3), 139-41
de Dalayrac, 1844 (1844) A. Schaeffner: 'Sur quelques caractères de l'influence franckiste',
12 2e fantaisie: sur l'air et le virelay 'Le pont du
ReM, iv/1-3 (1922-3), 142-54
jour' de Gulistan de Dalayrac, 1844 (1844) V. d'Indy: 'La première manière de César Franck', RdM, iv/5 (1923),
13 Fantaisie, ?1844,lost
18 15 Fantaisie sur deux airs polonais, 1845 (cl 845)
2-7
R.V. Dawson: 'Beethoven and César Franck', ML, xi ( 1930),110—23
16 Trois petits riens: Duettino, Valse, Le songe,
C. Oulmont: Musique de l'amour, i: Ernest Chausson et la 'bandeà
1846
19 17 2e duo: sur le quatuor de Lucile de Grétry, pf 4 Franck' (Paris, 1935/R)
H. Haag: César Franck als Orgelkomponist
hands, 1845 (1846) (Kassel, 1936)
G. Kreutzer: Die sinfonische Form César
20 Les plaintes d'une poupée, 1865 (1904) Francks (Dusseldoci, 1938)
21 Prélude, choral et fugue, 1884 (1885); Société ZfM, ix (1940) [special Franck issuel
Nationale, 24 Jan 1885 A. Colling: César Franck ou le concert
spirituel (Paris, 1951)
22 Danse lente, 1885 (1888) C. Taube: César Franck —und wur
N. Dufourcq: Autour de Coquard, (Berlin, 1951)
23 Prélude, aria et final, 1887 (1888); Société César Frank et Vincentd'Indy
Nationale, 12 May 1888 (Paris, 1952)
J. Matter: 'De quelques
sources beethovéniennes de Cesar Franck',
SMz, xcix (1959), 231-4
TRANSCRIPTIONS ANI) ARRANGEMENIS P. Hamburger: 'Den "sande"
César xxxv ( 1900),
E.M. Fannrng: 'Ibe 19th-C.entury Franck', l)Mt, C.,waille-Coll
French Organ o/
the ()rgan Works o/ César
R. Pearsall: sel'he"Serene Franck (diss., Boston U., 1904)
4 mélodies de François Schubert, sec under Anxiety" oi César Franck', MR, xxvil
PIANO
(1966), 98-101
R. Berthelot: 'A propos de
92 Accompagnements d'orgue et arrangements César Franck', l. 'orgue, no. 121 ( 1967)'
pour les voix, des offices en chant grégorien 17—18lincl. photograph from
P. Libert: 'Het geboortehuis 18431
restauré par le R.P. Lambillotte, 1858 van César Franck', Mens en melodld,
(c1858) xxiii ( 1968), 34—7
L. Davies: César Franck
Lénore, sym. poem by H. Duparc, arr. pf 4 and bis Circle (London, 1970/R)
J. Maegaard: 'Rotnantikkens
hands, c1875 (1875) harmonik?', DMt, xlvi ( 1971), 11—14
[Franck's harmonic stylel
 THE NEW GROVE

Dictionary of Music
and Musicians
SECOND EDITION

Edited by

Stanley Sadie
Executive Editor

John Tyrrell

VOLUME 9

Florence to Gligo

CO

BIBLIOTHEEK

Nr.d.ÉU..6..I..

GROVE
HOGESCHOOL ANTWERPEN

03 09 0134555 0
 O Macmillan PublishersLimited 2001

All rkRhtstescrved. No part of this publication 'nay bc reproduced,

in any fortn, or by any Incans, without permission

First Edition of A Dictionary of Music and Musicians, planned and edited by

SIRGEORGE GROVE, in four volumes, with an Appendix edited by J.A Fuller Maitland,
and an index by Mrs Edmond Wodehouse, 1878, 1880, 1883, 1889
Reprinted 1890, 1900
in five volumes, 1904—10
MAITLAND,
Second Edition, edited by J.A FULLER
in five volumes, 1927
Third Edition, edited by H.C. COLLES,
in five volumes, with Supplementary Volume, 1940
Fourth Edition, edited by H.C. COLLES,

Fifth Edition, edited by ERICBLOM,in nine volumes, 1954; with Supplementary Volume 1961
Reprinted 1961, 1973, 1975

American Supplement, edited by WALDOSELDEN PRATT,in one volume, 1920

Reprinted with new material, 1928; many later reprints
The New Grove Dictionary of Music and Musicians TMfirst edition
edited by STANLEYSADIEin twenty volumes, 1980
Reprinted 1981, 1984, 1985, 1986, 1987, 1988, 1989, 1990, 1991, 1992, 1993, 1994, 1995
Reprinted in paperback 1995, 1996, 1997, 1998

The New Grove Dictionary of Music and MusiciansTMsecond edition

edited by STANLEY SADIE/ executive editor JOHNTYRRELL,
published in twenty-nine volumes in the year 2001

This edition is distributed within the United Kingdom and Europe by Macmillan Publishers Limited
London, and within the United States and Canada by Grove's Dictionaries Inc., New York
Grove, Grove's, The New Grove and The New Grove Dictionary of Music and Musicians are trademarks of Macmillan
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British Library Cataloguingin PubJicationData Library of Congress Cataloging in Publication Data

The New Grove dictionary of music and musicians. —2nd ed. The new Grove dictionary of music and musicians / edited by
1. Music —Dictionaries 2. Musicians —Dictionaries Stanley Sadie; executive editor, John Tyrrell. —2nd ed.
I. Sadie, Stanley, J 930— p. cm,
Includes bibliographical references and index.
ISBN 0-333-60800-3
ISBN 1-56159-239-0 (cloth: alk.paper)
I. Music—Encyclopedias. 2. Music—Bio-bibliography.
I. Sadie, Stanley. Il. Tyrrell, John.
MLIOO .N48 2000
780'.3—dc21 00-0055156