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Updated: June 28, 2025
During the later years of César Franck's earthly existence, he produced several masterpieces. Among them the Violin Sonata, composed for Eugene and Théophile Ysaye, the D minor Symphony, the String Quartet, the two remarkable piano pieces, Prelude, Chorale and Fugue, Prelude, Aria and Finale, and finally the Three Chorales for organ, his swan song.
In the first year six ordinary concerts were given, and, besides that, two sacred concerts with choirs, at which César Franck's Rédemption and Massenet's Marie-Magdeleine were performed. In 1874 the Odéon was abandoned for the Châtelet. This venture attracted some attention, and the concerts were patronised by the public; but the financial results were not great.
Though obliged to retire to the south of France for his health's sake, he founded, in November, 1905, the Schola of Montpellier. This Schola has given about fifteen concerts a year, and has performed some of Bach's cantatas, scenes from Rameau's and Gluck's operas, Franck's oratorios, and Monteverde's Orfeo. In 1906 M. Bordes organised an open-air performance of Rameau's Guirlande.
The thematic material is originally turned, oftentimes broad and churchly and magnificent; the movement of the Franckian themes being a distinct invention. The harmony is full and varied and brilliant. But it is pre-eminently the seraphic sweetness of Franck's style that distinguishes his music and sets it over against this other that is so hard of edge and thin of substance.
And whereas Saint-Saëns' style is over-smooth and glacial, a sort of musical counterpart of the sculpture of a Canova or a Thorwaldsen, Franck's is subtle, mottled, rich, full of the play of light and shadow.
So it is not surprising that César Franck's teaching, founded on that of Bach and Beethoven, but admitting, as well, imagination and all new and liberal ideas, did, at that time, draw to him all young minds that had lofty ambitions and that were really in love with their art.
Such was the comprehensive programme of the French Institute; and many circumstances concurred at the time to impart a peculiar interest to the competition. M. Franck's volume contains the Report of the Section of Philosophy on the papers which had been prepared, and offers a careful analysis and critical estimate of their contents.
That is only natural; the Société Nationale most truly earned its title to glory by discerning César Franck's genius; for the Society was a little sanctuary where the great artist was honoured at a time when he was ignored or laughed at by the rest of the world. This character of a sanctuary was kept even after victory.
They were playing several of Franck's works; among others, for the first time, his admirable Thème, fugue, et variation, for the harmonium and pianoforte, a composition in which the spirit of Bach is mingled with a quite modern tenderness. Franck was conducting, and M. d'Indy was at the pianoforte.
Though the three were countrymen, Franck's appearance like Willy, he was wearing evening dress added a touch of embarrassment where there had been perfect unconstraint; and though Willy had lent Frederick a suit, and a tailor had already been ordered, Frederick expressed regret at not being appropriately dressed. "Yes, Ritter's a great stickler for form," Willy observed.
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