CESAR See also:

• FRANCK
• CESAR FRANCK (1822-1890)
• FRANCK, or FRANK [latinized FRANCUS], SEBASTIAN (c. 1499-c. 1543)

FRANCK (1822-1890)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French musical composer, a Belgian by See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth, who came of See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German stock, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• LIEGE
• LIEGE (Walloon, Lige, Flemish, Luik, Ger. Lilltich)

Liege on the loth of See also:

• DECEMBER (Lat. decent, ten)

December 1822 . Though one of the most remarkable of See also:

• MODERN

modern composers, Cesar See also:

• FRANCK
• FRANCK, CESAR (1822-1890)
• FRANCK, or FRANK [latinized FRANCUS], SEBASTIAN (c. 1499-c. 1543)

Franck laboured for many years in See also:

• COMPARATIVE

comparative obscurity . After some preliminary studies at Liege he came to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris in 1837 and entered the See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

conservatoire . He at once obtained the first See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize for piano, trans-posing a See also:

• FUGUE (Lat. fuga, flight)

fugue at sight to the astonishment of the professors, for he was only fifteen . He won the prize for the See also:

• ORGAN

organ in 1841, after which he settled down in the French See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital as teacher of the piano . His earliest compositions date from this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, and include four trios for piano and strings, besides several piano pieces . See also:

• RUTH, BOOK OF

Ruth, a biblical See also:

• CANTATA (Italian for a song or story set to music)

cantata was produced with success at the Conservatoire in 1846 . An See also:

• OPERA (Italian for " work ")

opera entitled Le See also:

• VALET (Fr. valet; O. Fr. vaslet)

Valet de ferme was written about this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, but has never been performed . For many years Franck led a retired See also:

• LIFE

life, devoting himself to teaching and to his duties as organist, first at See also:

• SAINT (lat. sanctus, " holy ")

Saint-See also:

• JEAN

Jean-Saint-See also:

• FRANCOIS (1558-1614)

Francois, then at Ste Clotilde, where he acquired a See also:

• GREAT

great reputation as an improviser . He also wrote a See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass, heard in 1861, and a quantity of motets, organ pieces and other See also:

• WORKS

works of a religious See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . Franck was appointed See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of the organ at the Paris conservatoire, in See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession to Benoist, his old See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master, in 1872, and the following See also:

• YEAR

year he was naturalized a Frenchman . Until then he was esteemed as a See also:

• CLEVER

clever and conscientious musician, but he was now about to prove his See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title to something more .

A revival of his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• ORATORIO

oratorio, Ruth, had brought his name again before the public, and this was followed by the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of Redemption, a See also:

• WORK

work for See also:

• SOLO, OR SOLO WHIST

solo, See also:

• CHORUS (Gr. xopbs)Z

chorus and See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra, given . under the direction of M . Colonne on the loth of See also:

• APRIL

April 1873 . The unconventionality of the See also:

• MUSIC

music rather disconcerted the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general public, but the work nevertheless made its See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark, and Franck became the central figure of an enthusiastic circle of pupils and adherents whose devotion atoned for the comparative indifference of the masses . His creative See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power now manifested itself in a See also:

• SERIES (a Latin word from serere, to join)

series of works of varied kinds, and the name of Franck began gradually to emerge from its obscurity . The following is an enumeration of his subsequent compositions: Rebecca (1881), a biblical idyll for solo, chorus and orchestra; See also:

• LES

Les Beatitudes, an oratorio composed between 187o and 1880, perhaps his greatest work; the symphonic poems, Les Eolides (1876), Le Chasseur maudit (1883), Les Djinns (1884), for piano and orchestra; See also:

• PSYCHE (//vxi7)

Psyche (1888), for orchestra and chorus; symphonic See also:

• VARIATIONS
• VARIATIONS, CALCULUS
• VARIATIONS, CALCULUS OF

variations for piano and orchestra (1885); See also:

• SYMPHONY

symphony in D (1889); quintet for piano and strings (1880); See also:

• SONATA (From Ital. sonare, to sound)

sonata for piano and See also:

• VIOLIN

violin (1886); See also:

• STRING

string quartet (1889); prelude, choral and fugue for piano (1884); prelude, See also:

• ARIA (Ital. for " air ")

aria and See also:

• FINALE (Ital. for " end ")

finale for piano (1889) ; various songs, notably " La Procession " and " Les Cloches du Soir." Franck also composed two four-See also:

• ACT (Lat. actus, actum)

act operas, See also:

• HULDA

Hulda and Ghiselle, both of which were produced at See also:

• MONTE

Monte Carlo after his See also:

• DEATH

death, which took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in Paris on the 8th of See also:

• NOVEMBER (Lat. novem, nine)

November 1890 . The second of these was See also:

• LEFT

left by the master in an unfinished See also:

• STATE
• STATE, GREAT OFFICERS OF

state, and the See also:

• INSTRUMENTATION

instrumentation was completed by several of his pupils . Cesar Franck's See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on younger French composers has been very great . Yet his music is German in character rather than French . A more sincere, modest, self-respecting composer probably never existed . In the centre of the brilliant French capital he was able to See also:

• LEAD
• LEAD (pronounced iced)

lead a laborious existence consecrated to his threefold career of organist, teacher and composer . He never sought to gain the suffrages of the public by unworthy concessions, but kept straight on his path, ever mindful of an ideal to be reached and never swerving therefrom .