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Updated: June 9, 2025


But although it has always numbered in its ranks many illustrious and devoted professors among whom it recognised, a little late, the founder of the young French school, César Franck and though the majority of artists who have made a name in French music have received its teaching, and the list of laureates of Rome who have come from its composition classes includes all the heads of the artistic movement to-day in all its diversity, and ranges from M. Massenet to M. Bruneau, and from M. Charpentier to M. Debussy in spite of all this, it is no secret that, since 1870, the official action with regard to the movement amounts to almost nothing; though we must at least do it justice, and say that it has not hindered it.

In the next year she became a pupil of Franck, whom she considers her real master, and after that great works came thick and fast. An Andante Pastorale from an unpublished symphony met with a favourable reception. Then came the symphony "Lutece," which was second only to works of Dubois and Godard in a Paris competition. This was followed by the symphonic poem, "Pologne."

The earliest of these painters was Jérome Franck, born away back in 1540. Thus the name Franck had stood for art ideals during a period of more than two and a half centuries. When César and his brother were small children, the father, a man of stern and autocratic nature a banker, with many friends in the artistic and musical world decided to make both his sons professional musicians.

At its performance in 1863, the work failed. His last years were darkened by the death of his wife and son. He died March 8th, 1869, in Paris. César-Auguste Franck was born at Liège, Belgium, December 10th, 1822. His father hoped to make a piano-virtuoso of him, and supervised his musical education. At the age of eleven the young Franck was touring Belgium as a pianist.

Then, of course, the inevitable monument was erected to him. Still, the future was with César Franck as it has been with few artists. The timeliness of his art was almost miraculous. Without a doubt, during the years of his labor, the French were most ready for a musical renaissance. The defeat of 1870 had, after all, braced the nation, summoned its dormant energies.

César Franck bored her, and Wagner gave her a headache. Her favourite instrument was an old harpsichord, on which she played Mozart, while her daughters thundered out Liszt and Rubinstein upon a concert grand, and you, dear Professor, when in a good humour, strode about the house whistling horribly out of tune.

And to know this music is to admire and love it. Whatever we learn of César Franck endears him to all who would know and appreciate the beautiful character which shines through his art. He was always kind, loving, tender, and these qualities are felt in the music he composed. Some day we shall know his music better.

At the garden party Monsieur Franck made a graceful speech in which he said that the real missionaries of African civilization were the wives who accompanied their husbands to their lonely posts in the field. What he said made a distinct impression upon me for it was not only the truth but it emphasized a detail that stands out in the memory of everyone who visits this part of the world.

I recollect a visit from Henri Vieuxtemps at this time, who came to Zurich with Belloni to give an evening concert, and he again delighted me and my friends with his violin playing. With the approach of spring I was agreeably surprised by a visit from Hermann Franck, with whom I had an interesting conversation about the general course of events since I had lost sight of him.

We notice this work as exhibiting a lively picture of the manners of these nations at this period. The same reason induces us to notice the following. Indeed, the chief interest of these old works, and it is no languid one, is derived from being introduced into the midst of ancient manners and people. Ulfedii Legatio Moscovitica. Franck. 1617. 4to.

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