César Franck


Born: 1822   Died: 1890   Country: France   Period: Romantic
César Franck is an important composer from the latter half of the nineteenth century, particularly in the realms of symphonic, chamber, organ and piano music. His stage works were uniformly unsuccessful, though his choral compositions fared somewhat better. Born in Ličge (in the French region which in 1830 became part of a new state, Belgium), on December 10, 1822, he led a group of young composers, among them d'Indy, Duparc, and Dukas, who found Read more much to admire in his highly individual post-Romantic style, with its rich, innovative harmonies, sometimes terse melodies, and skilled contrapuntal writing. This group, sometimes known as "la bande ŕ Franck," steered French composition toward symphonic and chamber music, finally breaking the stranglehold of the more conservative opera over French music.

Franck was a keyboard player of extraordinary ability who had a short stint as a touring piano virtuoso before moving to Paris and throwing himself into musical studies. In addition, he was an organist at several major churches during his career, and his skills on the organ accounted in great part for his compositional interest in that instrument; his organ compositions stand at the apex of the Romantic organ repertoire. Franck was a man of strong religious convictions throughout his life, which often motivated him to compose works based on biblical texts or on other church sources. For much of his life he was organist at the Paris churches of St.-Jean-St. François and then Ste.-Clothilde, and in 1872 he became a professor at the Paris Conservatoire.

Individual and instantly recognizable though his music was, it owes a debt to Liszt and Wagner, especially to the latter's Tristan und Isolde and several other late works. He tended to use rather quick modulations, another inheritance from Wagner, and shifting harmonies. There is a Germanic ponderousness in some of his compositions; consider, for example, the opening of the Symphony in D minor of 1888, probably Franck's most famous composition. In this work, one hears a mixture of paradoxical elements so typical of the composer: for example, moments of peace and serenity barely conceal an undercurrent of disquiet. In this symphony, Franck, adapts the Lisztian-Wagnerian predilection toward cyclical structure and melodic motto to an abstract symphonic form. Another characteristic of Franck's music is extended homophonic writing, as exemplified in his choral symphonic poem Psyché.

Franck died in Paris on November 8, 1890. By the turn of the century he had become the leading figure associated with the "Old School" in France, while Debussy came to represent the "progressive" forces. Read less
Franck & Chopin / Capucon, Yuja Wang
Release Date: 12/06/2019   Label: Erato  
Catalog: 539226   Number of Discs: 1
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Franck: Orchestral Music Vol 1 / Benzi, Arnhem Philharmonic
Release Date: 08/05/1997   Label: Naxos  
Catalog: 8553631   Number of Discs: 1
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Franck, Grieg: Violin Sonatas / Takako Nishizaki, Jenö Jandó
Release Date: 02/15/1994   Label: Naxos  
Catalog: 8550417   Number of Discs: 1
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Franck: Symphonic Variations; D'indy: Symphony On A French Mountain Air
Release Date: 10/04/1994   Label: Naxos  
Catalog: 8550754   Number of Discs: 1
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Franck: Piano Quintet;  Chausson: String Quartet / Ludwig Qt
Release Date: 06/02/1998   Label: Naxos  
Catalog: 8553645   Number of Discs: 1
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Work: Sonata for Violin and Piano in A major, M 8


Franck: Sonata in A Major for Violin and Piano - 1. Allegretto ben moderato
Franck: Sonata in A Major for Violin and Piano - 2. Allegro- Quasi lento- Tempo 1 (Allegro)
Franck: Sonata in A Major for Violin and Piano - 3. Recitativo - Fantasia (Ben moderato - Largamente - Molto vivace)
Franck: Sonata in A Major for Violin and Piano - 4. Allegretto poco mosso
About This Work
Aside from the Symphony in D minor, which has become a staple of the concert hall, the Violin Sonata (1886) is Franck's best-known work, and rightly so: It is a superb synthesis of Franck's own uniquely rich harmonic language and thematic cyclicism Read more and the Viennese Classical tradition that he came to hold so dear in the later stages of his career.

The Sonata was composed as a wedding present for the famous Belgian violinist Eugene Ysaÿe, who performed it at his matrimonial celebrations on September 26, 1886. The work's popularity is suggested by the number and variety of arrangements that were eventually made, including versions for flute, cello, viola, and even tuba; of these, however, only the arrangement for cello received the composer's stamp of approval.

The Sonata begins not with a fiery quick movement, but rather with a poetic Allegretto moderato in 9/8 time. After a tentative opening gesture, the music builds to a compelling fortissimo climax. As the violin rejoins the discourse, the drama ebbs to a dolcissimo reprise of the opening. Another climax, this time moving toward the tonic A major, follows, and the movement ends with a brief codetta.

The tender relief of the first movement's conclusion is extremely short-lived, however, as a low sixteenth note rumbling in the piano soon overflows into a full-blooded Allegro. The syncopated main tune is taken over by the violin, and things settle down just long enough for a quasi lento interlude and some fragmented episodic reconstructions of the movement's three main motivic strands. A recapitulation, with suitable harmonic reorganization of the material, follows, and the coda, initially misterioso but increasingly tumultuous, provides an electrifying finish.

The third movement, Recitativo-Fantasia, is in many ways the most immediately striking in the Sonata. The piano makes an introductory gesture that draws on the same rising-third gesture that provided the first movement's main theme, to which the violin responds unaccompanied. The tranquil, almost other-worldly middle section introduces the two striving themes, with characteristic triplet-rhythm accompaniment, that will return in glorious attire in the Finale.

The total defeat that seems to mark the conclusion of the third movement is immediately dispelled by the happy opening of the Finale. Although the initial melody, treated in exact canonic imitation between the instruments, is original to the last movement, the first of the two melodies from the central section of the third movement also makes a return. After an appropriate mingling of these ideas -- and a colorful interlude built on a subsidiary motive from the opening movement -- a tremendous buildup climaxes in the passionate fortissimo return of the second of the two third-movement themes and is immediately repeated a whole step higher. As the dam bursts the opening canonic theme returns once more to bring the work to a cheerful close.

-- Blair Johnston, All Music Guide Read less

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