Franck, César, S1: Life 177
organist J.A. Schandroch
ofthe Bratislava (1710—80)was
discovered in 1962, in stitnik evangelical rectory;
includesone harpsichord dance ('Polonicus') and five
short pieces designed to meet
organpreludes, the practical
eedsof organists. Francisci also left an Introductio in
generalentbassum, known only in a manuscript copy in a
volumeFund,vnenta 'nusicae (in the Tranovsky l,ibrary,
Mikulå9.
Liptovsk$'
BIBLIOGRAPHY
esHS:
J. Branberger: •K déiinåm hudby na Slovensku' ll•listory of nutsic in
Slovakia), Nase slot'ensko, iii ( t 909—10).209
G. eernu.Qk and V. Helfert, eds.: Pazdirktiv hudebnislovnik nauöny
[Pazdirek'stnusic dictionaryl, ii/l (Brno, 1937)
K. Hudec: Hudba v Banskei Bystrici do 19. storo&ia IMusic in
BanskåBystricaup to the 19th century) (Liptovskf' Mikulåsx,
1941),44ff
MARIA JANA TERRAYOVÅ
Francisco de Novo Portu. See MERGOT,FRANCISCUS.
Franciscus,Magister (fl 1370—80).French composer. He
may be the F. Andrieu who, according to two texts by
EustacheDeschamps, composed the four-part ballade
Annes,amours/O flour des flours mourning the death of
Machaut in 1377 (facs. in Gennrich, pl. 16; ed. in Ludwig,
1926,Apel, 1970, and Greene, 1982). It is also possible
that he was the Franciscus de Goano who was chaplain
of the papal choir at Avignon under Gregory XI and
ClementVII but died in 1404; alternatively he could be
theJohannes Franchois or Franciscus, documented from
1378to 1415, who was a singer in the chapels of Pope
ClementVII, Dukes Philip the bold and John the Fearless
of Burgundyand Dauphin Louis of Guienne (who in his
turn has been wrongly identified as the composer Johannes
Franchois de Gemblaco, see Wright). Two three-voice
ballades are ascribed 'Magister Franciscus' in F-CH 564;
both are reminiscent of Machaut's mature style. De
Narcissus(ed. in Apel, 1950 and 1970, and in Greene,
1981),composed before 1376, was widely diffused at the
time,and occurs in versions with different contratenors.
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
de
A.HÆ.de Queux de Saint Hilaire, ed.: Oeuvres complétes
EustacheDeschamps, i (Paris, 1878), 243—6
F. Ludwig, ed.: Guillaume de Machaut: Musikalische
Werke, i
(Leipzig,1926/R); ii (Leipzig, 1928/R), 27
und der ersten
F. Gennrich:Abriss der Mensuralnotation des XIV. 2/1965)
1948,
(Nieder-Modau,
Hälftedes XV. Jahrhunderts
Fourteenth Century
W. Apel, ed.: French Secular Music of the Late
(Cambridge,MA, 1950)
G.Reaney: 'The Manuscript Chantilly, Musée
Condé 1047', MD,
viii (1954), 59—113,esp. 67, 96 [with edn of Phiton, Phiton]
der Ars Subtilior',
U.Günther: 'Zur Biographie einiger Komponisten
AMW, xxi (1964), 172-99, esp. 182,
186
MD, xix (1965),
U.Günther: 'Eine Ballade auf Mathieu de Foix',
69-81, esp. 70 front the Codex Reina,
N.E.Wilkins, ed.: A 14th-Century Repertory
Repertoire des
U.Günther: 'Bemerkungen zum älteren französischen
CodexReina', AMw, xxiv (1967), 237—52the Fourteenth
W.Apel,ed.: French Secular Compositions of
(Henryville, PA, 1979),
C. Wright:Music at the Court of Burgundy
Chantilly, Musée
G•Greene,ed.: French Secular Music: Manuscript 18, 84
nos.16,
condé 564, PMFC, xviii-xix (1981-2),
A. Totnasello: Music and Ritual at Papal Avignon (diss.,
U. of Michigan, 198.3), 226
ILeo. Korth: Studien Kantilenensatz i/" Iriihett IS. Jahrhundert:
"lit ansteecbselbaren Contratenores (Munich,
1986), 18-20
N.E. Wilkins, ed.: /lnnes, 'l"jottrs, (1/1"te.s,chevalerie: an Anthology
011"'t'tjc/'Songs trot/' t/"' Ilonrteent/' (',entury (Fulbourn, Camb%.,
1987),
Franciscus Vcnctus, See ANA, J/RAN(
Francisquc, Anthoinc IAntoincl (b St (Quentin, c 157.5;d
Paris, bur. 5 ()ct J"rcnchcomposcr and lutcni%t.At
first hc lived at Catnbrai, whcrc hc marricd in 1596.
Shortly afterwards hc rnovcd to Pari%.HC to havc
practiscd his art in thc circlc of thc Princc of Condé, to
whom he dcdicatcd loc trésor and soon won
great renown.
Francisquc's only known rnusic is the 70 piece;
constituting Le trésor d'Orphée: livre de tablature de luth
(Paris, 1600/R; transcr. for piano, J9()6). It consists
mainly of dances: passamezzos, pavans, galliards, cou-
rantes, branles, voltes and gavottes, the last-named among
the earliest known ones. There are also a few preludes
and fantasias. Some pieces are arrangements of then
current popular tunes: they include La Cassandre (already
found in Arbeau's Orchésographie, 1588), a galliard
'faicte sur une volte de feu Perrichon' and Lassus's
Susanneung jour. Most of these pieces use the normal
lute tuning but a few branles require a
nine-courselute with a lower tuning (å cordes avalées).
The collection ends with instructions for converting all
types of lute tablature into staff notation and vice versa.
BIBLIOGRAPHY
M. Brenet: 'Notes sur l'histoire du luth en France', RMI, vi (1899),
1—44;pubd separately (Turin, 1899/R)
L. de La Laurencie: 'Les luthistes Charles Bocquet, Antoine
Francisqueet Jean-Baptiste Besard', RdM, vii (1926), 69—77,
126-33
L. de La Laurencie: Les luthistes (Paris, 1928)
L. Lesca: 'Antoine Francisque, joueur de luth et compositeur',
Musique ancienne, xix (1985), 45—56 JOEL DUGOT
half of the 19th century.
1. LIFE. Franck's cultural origins have been the subject
of some dispute. Before 1830 Liege was officially part of
the French-dominatedWalloon district of what later
became Belgium. His mother's ancestry was wholly
German; the family of his father Nicholas-Joseph, a minor
clerk who was unemployed at the time of his elder son's
birth, came from Gemmenich near the German border.
The combination of early precocity, an Irresponsible and
ambitious parent and an age which féted prodigies less
discriminately than a previous one resulted inevitably in
and
a childhood and adolescence scarred by exploitation, full
perhaps contributed to the late maturing of Franck's
him
creative powers. In October 1830 his father enrolled
Liege Conservatoire where he rapidly gained
at the (Jalheau's
premiers prix for solfége in 1832 and piano harmony
1833 to 1835 he studied
class) in 1834. From
of Mehul who
with the director, Dausscngne, a nephew Encouraged by
had taught at the Paris Conservatoire.
organued a series ot
these academic successeshis father
 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

more productive than the previous one, apart from a
numberof short organ pieces (published posthumously)
and several motets, together with three curious cantatas,
the Cantique de Moise, the Plainte des israélitcs and La
and the oratorio
tour de Babel, Les sept paroles du Christ,
which all remained in manuscript. It was during this
creativelyfallow period that he was unwittingly laying
the foundations of a remarkable phenomenon of 19th-
century French culture: the cluster of pupil-disciples
known as the bande Franck. One of his part-time
teaching posts was at the Jesuit college in the rue
Vaurigard, where his pupils included Henri Duparc and
Arthur Coquard. Although the latter received instruction
in harmony from 1865 to 1866 he was then intent on a
career in law and did not resume contact with the group
until after the Franco-Prussian War. Meanwhile Duparc
had establishedhimself as the leader of the embryonic
brotherhood (augmented by Albert Cahen) and in 1868
took the decisive step of introducing Franck, their beloved
'Pater seraphicus', to Alexis de Castillon, who was later
to become the first secretary of the Société Nationale de
Musique. The society loyally included Franck's Trio de
salon op.I no.2 in the programme of its first concert on
25 November 1871, and subsequently gave first perform-
ances of many of his important works. But belated
recognitionhad already begun a month earlier with a
favourably received performance of the revised version of
Ruth, and the end of Franck's obscurity was signalled by
his nomination to succeed Benoist as professor of organ
at the Conservatoire. For this appointment he found it
necessaryto apply for French citizenship.
in
In October 1872 Vincent d'Indy became a studentthe
Franck's organ class, which was by then assuming
and in the
status of an unofficial composition seminar, oratorio,
following month the first version of a new d'Indy this
Rédemption, was completed. According tohis principles
applied
was the first work in which Franck in the first
architecture'; there are passages
of 'tonal which suggest his
symphonic interlude (later discarded) performance
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
to remodel it. (The revised work
critics, but not until six
real success with the public and In November 1874 he
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-
Franck was entering upon aunabated until his death,
dous intensity which lasted
had to be fitted into the
although most of his composition the Trois pieces for
summer holidays. Except for writing organ at the Palais
the inauguration of the Cavaillé-ColIalmost nothing else
du Trocadéro (1878), he worked onbéatitudes (begun in
but the monumental oratorio Les
in July 1879. By
1869)from 1875 until its completion soon
begun the Piano Quintet and oratorio,
then he had already began another
after its successful premiere, he
Franck, César, S2: Works 179
Rébccca, and later the ill-fated I-lulda. Two more
symphonic poems soon followed, Le chasseur maudit and
Les Djinns; thc lattcr, along with thc Quintet, signalled
thc reawakening of his intcrcst in the piano, which found
further cxprcssion in thc Prélude, choral et fugue and the
Variations symphoniques. On 6 August 1885 he was
awarded thc cross of thc Légion d'Elonncur; a year later
his election as president of thc Société Nationale set off
an odious confrontation bctwccn thc majority party of
his own lieutenants (recently joincd by Chausson) and the
disillusioned, reactionary Saint-Saéns. But thesc conflicts
were not reflectedin his important compositions of that
summer of 1886: the sunny Violin Sonata and the sensual,
at times frankly erotic, symphonic poem Psyché.
The year 1887 opened with an ambitious Franck
festival concert in the Cirque d'Hiver, conducted jointly
by the composer and the unsympathetic Pasdeloup.
Characteristically, the disastrous performances embar-
rassed all but the undaunted Franck himself, who, in
addition to writing a second triptych for piano, was
making the first sketches for the Symphony. One more
abortive operatic scheme occupied him for a further year,
but soon after abandoning the orchestration of Ghiselle
to his pupils he began the String Quartet, a masterly
distillation of his harmonic-contrapuntal idiom, whose
hyper-intensity he passed on to his last pupil, Guillaume
Lekeu. His final works written during summer 1890 were
the complex Trois chorals and a collection of pieces (for
harmonium) of which only 59 of a projected 91 (seven
pieces for each of the 13 chromatic keys from C to C)
were finished. He was working on them when he died
on
weeks
8 November, a chill which he had contracted a few
earlier having developed into pleurisy. Among those
present at his funeral service two days later were Fauré,
Bruneau, Widor, Lalo and, delivering the oration, Cha-
brier. The Conservatoire was represented by Delibes;
the
Ministry of Fine Arts neglected to send a delegate.
Ex.2
(a) 5th Béatitude
11
(b) Les Eolides
17
style were
Many features of Franck's Grace
2. WORKS.
years at Ste Clotilde;
established during the early the themes of the Grande
(1948) confidently compared (1886-8);
and the Symphony B major
piece symphonique (1863) the
resemblances between movement
there are also melodic slow
Grande piéce and the
Andante of the early (1889). The basis of Franck's
of the string Quartet
180 Franck, S2: Works
Ex.3 rn•tude, ct tusuc.schorale
rail. P '"Olto espress.
30
thematic material is the symphonic phrase, a paradoxical
compound of rhetorical and passive elements which is
paralleled linguistically by Jean-Aubry's (1916) descrip-
tion 'serene anxiety'. Often Franck developedcomplex
phrase structures using a kind of mosaic of variants of
one or two germinal motifs, a techniquewhich again
underlines his indebtedness to Liszt; two late piano works,
the Prélude, choral et fugue and the Prélude, aria et final
illustrate this procedure in its most developed and refined
state (ex.3).
If one admits d'lndy's proposition of a major stylistic
gap between Rédemption (1871—2)and Les Eolides
(1875—6),one must concur with his biassed assumption
that Franck's later compositions are principally identifia-
ble by their preoccupation with harmonic techniques
deriving from Tristan und Isolde. A very rich strain of
chromaticism is indeed a consistent feature of his mature
works, and still more of the works of a number of his
pupils, where it often appears as a complex undercurrent
to a less involved surface, with relatively diatonic melodies
harmonized in the style of Tristan. However, many non-
harmonic features of Franck's 'late' manner were present
at an earlier date than that suggested by d'lndy, and, as
previously noted, his earliest flirtations with Tristanesque
harmony began at least with the fifth Béatitude, written
some time before 1875. The bowdlerized version of the
opening of the Tristan prelude found in Les Eolides was
only a step towards the high chromaticismof the final
works, which he had to some extent used even before his
acquaintance with Wagner's opera. The foundation of his
chromatic procedures,like Wagner's in Tristan, is the
juxtaposition of tonally unrelated chords by means of
logical part movement; in this they had a common source
(ex.4), although Wagner was to explore the association
of much more distantly related harmonies.
Ex.4 Beethoven: Sonata in F op. 54, 2nd movt, bars 37—43:harmonic scheme
An outstanding feature of Franck's harmonic language
is his use of the 'chord pair' (as in bars 1 and 2 of Les
Eolides) where the second chord carries with it the
impression of a sforzando, A classical formulation of this
device appears in the ninth bar of the first movementof
the Violin Sonata, but it also occurs in much earlier pieces,
Rédemption
as in the first symphonic interlude fromwith Franck's
(quoted above). It is often associated
characteristic iambic rhythm in the attendant melody (see
often applied his method
ex.5), as in the Violin Sonata. He
Ex.5
or
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
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
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
analysed as Stollen (bar 1), Stollen (bar 2; chord on third
beat varied) and Abgesang (bars 3 and 4; cadentialfigure
derived from the preceding two bars). Franck'searly
explorations in the juxtaposition of chords had repercus.
sions in the music of a later generation,notablythatof
Debussy, for whom the concept of contrasting harmonic
colours was fundamental: his Les sons et les parfums
(1910) begins with the varied repetition of a chord pair.
Franck's formal procedures ranged from the simplistic
dovetailing of ternary and sonata forms in the first
movement of the Quartet to the complex synthesisof the
Variations symphoniques. The architectural principle
with which his name is linked, cyclic form, sprang
originally from two distinct sources: Beethoven's dramatic
recall of previously heard themes, and the monothematic
procedure whereby a number of movements employ
variants or 'transformations' of the same material,as in
Schubert's Wanderer Fantasy and E major Quartet
op. 125. Both these models have been suggestedas the
inspiration behind Franck's remarkable Trio in F$ minor,
but a more likely blueprint is to be found in the early
piano sonatas of Mendelssohn and the Scherzoof his
early Piano Quartet in B minor, which is distinctlyechoed
in the corresponding movement of Franck's Trio. It was
Liszt's achievement to have welded the two principlesof
thematic recall and monothematicism into a monumental
formal process which could unify a multi-movementcycle
or even, in Les préludes and the Piano Sonata, encompass
them all in a continuous sonata first movementplan.
Apart from the Trio, where the use of the cyclictechnique
savours of something of an intellectual exercise, Franck's
first important attempt at this kind of unification wasthe
Grande piéce symphonique, which shows clearly his
immeasurable debt to the music of Liszt's Weimar years.
Yet another large-scale single-movement compositionis
the Prélude, choral et fugue, whose chromatic generating
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
between movements, the work basically conforms to the
three-movement plan which Franck found mostcongetlial.
He had already experimented with the triptych formOf
Beethoven's Les adieux sonata in some of his early piano
works and later in a number of the Six pieces.Of the
the
other instrumental music, only the Violin Sonata and
Quartet deviate from this tripartite layout, to whichall
the important instrumental works of his pupils also
conform.
the
No appraisal of Franck's total output can ignore Of
wide qualitative gulf separating the broad categories
vocal and instrumental music. Surprisingly for a skilled
contrapuntist his choral writing too often suffersfrom

unrelieved hotnophony•, the discrepancy nut)'
work like Psyché in which the bc seen in
hybrid
simply disfigure the retnaindcr. lixecpt choral
in
sections
instanceshe was unable to tuakc
one or two
tnuch of the contentl)0
rary tnélodie (his grasp of prosody was notoriously
and the prevailing sentitncntal wenk
style ot church
mid-19th-centuryFt•anccwas hardly tct•tilc ntuqicin
soil
his gitts might flourish. Nevertheless.one or in which
sacred pieces. notably the festal offertory (Quactwo of his
(IS ¯1), were distinguished additions to thc est ista
repertory. Franck's cardinal weaknesses includedliturgical
of literary discernment and corresponding his lack
rely on the literary tastes of others. and rcadincss to
the
spectrum of experience he could convincingly litnitcd
music. The failure of the operas cannot bc cxprcss in
blamed cntircly
on their absurd and anachronistic librettos, and
of many magnificent pages, the choral works in spite
to find admirers, fundamentally because Franck are unlikely
unable to realize their essentially dramatic schemes. was
stricture is particularly applicable to Rédemption This
where,
as has often been remarked, he was lamentably unable to
delineatethe darker aspects of human nature described
in
the text, the characterization of Lucifer being utterly
ineffectual. Les béatitudes, Franck's magnum opus by
which both he and his disciples set so much store, suffers
initially from too rigid a formal plan: each of the eight
sections begins with an exposition of a particular evil,
proceeds to a celestial prophecy and concludes with the
voice of Christ intoning words from the Sermonon the
Mount. A certain pedestrianism in melody and rhythm is
exposed by the obsessively chromatic harmony. Yet the
monolithic design of the total work, in 'tonal architectural'
terms implemented by an identification of psychological
states with specific keys (as with Messiaen a kind of
cosmic joy is attributed to major), is very impressive
and ought to preclude anything but a complete perform-
ance. Parts three and four and much of parts five and six
represent his outstanding accomplishments on a large
canvas.
Franck's finest compositional achievement is repre-
sented by the symphonic, chamber and keyboard works,
one of the most distinguished contributions to the field by
any French musician —especially the last three chamber
works, in which Franck found a balance between his
inherent emotionalism and his preoccupation with coun-
terpoint and Classical forms. They constitute his legacy
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
3, E. Deschamps
Stradella, op
Le valet de ferme, oc 3, A. Royer and G. Vaez
49 4, epilogue, C. Grandmougin, 1879-85
Hulda, op
after Bjørnson
Franck, César•.Works 181
to hiq discIPlcq,and thc Ititcnsc Ititcrcst in chambcr music
shown by ( frotn thc trjorncntof his becoming a
qt0(lcnt of l•rnnck, is pcrhnpq qytnb011Cof thc irnportancc
Of fortnalist'( works for the Franck'St school a wholc.
herc wcrc few precedents
V•rnncc for such an
Ittvolvctncnt;those that (lid exist, h thc gcnutncly
nco qyrnphotucqof ( ,ounorl And P"tct of 1835
and thc carly piano quintet and ptano too by rhc ccIr.•cttc
Saint..Saénq,wcrc isolated Attcrnptsand gjvc littlc hint of
what was to follow. Vo his pupils. Franck communicated
both thc l"ccthovcman '(Icall%rnjnhcrrnt In the.
of the strict gcnrcs of symphony, (l'JArtctand sonata and
thc harmonic innovations of latc Romanticism. •rhic,
doul)lc allegiance to thc Vtcnncc,ctradition on the one
hand, and to I,iszt and Wagner on the other, was
undoubtedly responsible for rhc self-indulgent massive-
ness which characterizes many Franckist works and which
sometimes proved to be a source of stylistic confusion,
Cooper (1951) has observed about the Piano -rrto by
Lekeu. The finest products of the movement, however,
such as the chamber music and the Symphony of
Chausson, in whose Piano Trio may be observed the most
direct workings of Franck's influence,align this monu-
mentality with a sweeping lyricism.
Franck's pupils were attracted to his teaching technique,
his innate receptivenessto new ideas and his seriousness,
a quality which stood in marked contrast to the superfi-
ciality of the Opéra-dominated establishment. After 1872
only a few, including Augusta Holmes and Lekeu, were
taught privately; the majority, often at the instigation of
Coquard, attended the organ class where most of Franck's
composition teaching took place. Although he would
naturally assess individual compositions by members of
his closest circle, his main medium of communication
seems to have been the improvisation sessions which took
up most of the class's time; through these he reached a
wider audience, including such peripheral members of the
school as Fumet and Lazzari. He was noc primanly
concerned with keyboard technique, as Vierne and
Tournemire found to their dismay when later confronted
with Widor. His sphere of influencewas wide: in addition
to those pupils already mentioned, Charles Bordes, Guy
Ropartz, Dukas, Bréville,Pierné, Guilmant and Magnard
passed at some stage through his hands. Few ocher
teachers can be credited with such an achievement.
Composed Published First pertonnunc•es,•
remarks
vs only
1851-3
L894 Monte Carlo, S March
1894; vs arr. Franck
(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
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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