César Franck - Knowledge

445:

among César-Auguste's papers, he tore it up in the latter's presence. César-Auguste went directly to the Desmousseauxs', wrote out the piece from memory, and presented it to Félicité with a dedicatory line. Relations worsened with his father, who forbade any thought of betrothal and marriage (French law required parental consent to marriage for a son younger than 25), accused César-Auguste of distressing his mother and shouted at him about a then notorious husband-wife poisoning case as being the most likely outcome of any match by his son. His mother's role in the dispute is unclear: she was either mildly supportive of her son or stayed out of the conflict. On one Sunday in July, César-Auguste walked out of his parents' house for the last time with nothing except what he could carry, and moved to the Desmousseauxs', where he was welcomed. From that time on, Franck termed himself and signed his papers and works as

1022:. After that, his condition rapidly worsened and he died on 8 November. A pathologist writing in 1970 observed that, while Franck's death has traditionally been linked to his street injury, and there may have been a connection, the respiratory infection by itself could have led to a terminal illness. Given the lack of antibiotics, this "could not be considered an unusual pattern for pneumonia in a man in his seventh decade." But this verdict has been subsequently queried: "no doubt about the 'proximate cause' was ever voiced by the two persons most likely to know, namely, Franck and his wife; nor was such a doubt ever voiced by those outside Franck's immediate household who dealt with him between July and early November 1890. ... Franck's punishing workload, 'burning the candle at both ends' over decades, could well in itself have impaired the bodily resilience he needed to fight off even a minor injury." 680:) as consultant. At his own church, people began to come to hear the improvisations for the Mass and the Office. In addition, Franck began to give "organ-concerts" or recitals at Sainte-Clotilde of his own works and those of other composers. Perhaps his most notable concert arose from the attendance at a Sunday Mass in April 1866 of Franz Liszt, who sat in the choir to listen to Franck's improvisations and afterward said "How could I ever forget the man who wrote those trios?" To which Franck is supposed to have murmured a little sadly, "I fancy I have done rather better things since then.". Liszt organized a concert at Sainte-Clotilde to promote Franck's organ works later that month, which was well received by its listeners and well reported in the musical journals. Despite his comment about the trios, Franck was pleased to hear that not only Liszt but 377: 743:

that the nomination exposed the embarrassing fact that Franck was not a French citizen, a requirement for the appointment. It turned out that Franck did not know that when his father, Nicolas-Joseph, became a naturalized French citizen to enter his sons into the Conservatoire as students, they were counted as citizens only until age twenty-one, when they were obliged to declare their allegiance to France as adults. Franck had always regarded himself as French from the time of his father's naturalization. In fact, he had unknowingly reverted to his birth nationality of Belgian upon becoming a legal adult. Franck went through the naturalization process at once; his original appointment on 1 February 1872 was regularized in 1873.

770:"Father Franck". On the other hand, Franck experienced some tensions in his faculty life: he tended to teach composition as much as he did organ performance and improvisation; he was considered unsystematic in his teaching techniques ("Franck never taught by means of hard and fast rules or dry, ready-made theories"), with an offhand attitude towards the official texts and books approved by the Conservatoire; and his popularity among some students provoked some jealousy among his fellow professors and some counter-claims of bias on the part of those professors when judging Franck's pupils for the various prizes, including the 836:

surprising influence over their teacher as much as he over them. Vincent d'Indy is quoted as saying "When was hesitating over the choice of this or that tonal relation or over the progress of any development, he always liked to consult his pupils, to share with them his doubts and to ask their opinions." In turn, one of Franck's students recounts that Mme Franck remarked (with some truth) that "It is you pupils who have aroused all the hostility shown against him." In addition, there were some discords within the Société Nationale, where Saint-Saëns had put himself increasingly at odds with Franck and his pupils.

511: 457: 917:. His supporters were indignant: d'Indy writes that "it would be wrong to suppose that this honor was bestowed upon the musician, the creator of the fine works which do honor to French art. Not in the least!". Instead the citation was simply as "professor of organ" having completed more than ten years in that post. Vallas goes on to state: "Public opinion made no similar mistake on this score" and quotes a journal usually opposed to Franck as saying that the award was "above all things an act of homage paid justly if a little tardily to the distinguished composer of 362:

father . . . ." Concerts performed by young Franck (some with his brother on the violin, some including Franck's own compositions) were at first received well, but increasingly Nicolas-Joseph's commercial promotion of his sons antagonized the Parisian musical journals and critics. César-Auguste's technical abilities as a pianist were acknowledged; his abilities as a composer were (probably justly at this point) felt to be wanting. The whole situation was aggravated by what in the end became a feud between Nicolas-Joseph and Henri Blanchard, the principal critic of the

940:). Franck's wife and son found the work too sensual, and wanted Franck to concentrate on music wider and more popular in appeal "and altogether more commercial". D'Indy, on the other hand, speaks of its mystical significance, saying that it has "nothing of the pagan spirit about it, . . . but, on the contrary, is imbued with Christian grace and feeling . . . ." D'Indy's interpretation was subsequently described as revealing "some embarrassment, such as a newly timid Sunday-school teacher would feel if abruptly called on to acquaint riotous adolescents with 780: 338: 957:) "outraged the formalist rules and habits of the stricter professionals and amateurs." Franck himself, on being asked whether the symphony had any basis in a poetic idea, told Louis de Serres, a pupil, that "no, it is just music, nothing but pure music." According to Vallas, much of its style and technique can be attributed directly to the centrality of the organ in Franck's thinking and artistic life, and Franck profited from the experience. "He confided in his pupils that from thence on he would never write like that again." 193: 33: 1126: 645: 270: 727: 710:, had caused many of his pupils to disappear, either because they left Paris or were killed or disabled in the fighting. Again he wrote some patriotic pieces which, in the harshness of the times, were not then performed. He and his family experienced economic hardships as his income dropped and food and fuel became scarce. The Conservatoire was closed for the academic year 1870–1871. But a change was coming in how French musicians regarded their own music; particularly after the war they were looking for an 480:

in the same manner that he had as pianist, he had wanted an organist's position, not least because it provided a steady income. He now had occasion to match his Roman Catholic devotion with learning the skills needed for accompanying public worship, as well as the occasional opportunity to fill in for his superior, Alphonse Gilbat. In this position he won the favorable attention of the church's Abbé Dancel, who in 1851 moved to the new church of Saint-Jean-Saint-François-au-Marais (a small church in

1026: 840: 1301: 563: 5128: 2691: 1340:(1883). The Symphony was especially admired and influential among the younger generation of French composers and was highly responsible for reinvigorating the French symphonic tradition after years of decline. This was also his first and only Symphony to be composed and performed, taking him a total of 3 years, and being first performed at the Paris Conservatoire in February of 1889. One of his best known shorter works is the motet setting 1115:", a method aspiring to achieve unity across multiple movements. This may be achieved by reminiscence, or recall, of an earlier thematic material into a later movement, or as in Franck's output where all of the principal themes of the work are generated from a germinal motif. The main melodic subjects, thus interrelated, are then recapitulated in the final movement. Franck's use of "cyclic form" is best illustrated by his 334:. When Reicha died some ten months later, Nicolas-Joseph sought to enter both boys into the Conservatoire. However, the Conservatoire would not accept foreigners; Nicolas-Joseph was obliged to seek French citizenship, which was granted in 1837. In the interval, Nicolas-Joseph promoted concerts and recitals in Paris featuring one or both boys playing popular music of the period, to mostly good reviews. 988:, injuring his head and causing a short fainting spell. There seemed to be no immediate after-effects; he completed his trip and he himself considered it of no importance. However, walking became painful and he found himself increasingly obliged to absent himself first from concerts and rehearsals, and then to give up his lessons at the Conservatoire. He took his vacation as soon as he could in 5166: 546:, and was not only a virtuoso performer of Bach but a developer of organ teaching methods with which all organists could learn to play with precision, clarity, and legato phrasing. Franck appeared on the same inaugural concert program as Lemmens in 1854, much admiring not only the classic interpretation of Bach but also the rapidity and evenness of Lemmens's pedal work. 368:, who lost no opportunity to castigate the aggressive pretensions of the father and to mock the "imperial" names of the elder son. This animosity, "undoubtedly personal", may well have caused Nicolas-Joseph to decide that a return to Belgium was in order, and in 1842 "a peremptory order" to young Franck compelled the latter to leave the Conservatoire and accompany him. 5154: 472:. To get to the church, the party had to climb over the barricades set up by the revolutionaries – with, d'Indy says, "the willing help of the insurgents who were massed behind this improvised fortification." The elder Francks were sufficiently reconciled to the marriage to attend the ceremony; they signed the register at what had become César's parish church, 953:. The work was badly received: the Conservatoire orchestra opposed, the audience "ice-cold", the critics bewildered (the reactions ranged from "unreserved enthusiasm" to "systematic disparagement"), and many of Franck's fellow composers completely out of countenance towards a work "which by its general style and even certain details" (for example, use of an 391:

as rigorous and low-paying. Yet there were long-term benefits for young Franck. For it was from this period, extending back into his last Conservatoire years and forward beyond his return to Paris, that his first mature compositions emerged, a set of Trios (piano, violin, cello); these are the first of what he regarded as his permanent work.

498:, who had been making a name for himself as an artistically gifted and mechanically innovative creator of magnificent new instruments. "My new organ," Franck said, "it's like an orchestra!" Franck's improvisatory skills were now in much demand, since liturgical practice of the time required the ability to take the plainsong music sung for 534:) made the performance of Bach's works possible. This was totally outside the scope of the kind of playing which Franck had learned from Benoist at the Conservatoire; most French organs did not have the pedal board notes required for such work, and even France's own great classical organ tradition dating from the period of the 1186: 479:

It was the second great change that had made Notre-Dame-de-Lorette become Franck's parish church: his appointment there as assistant organist in 1847, the first of a succession of increasingly more important and influential organ posts. Although Franck had never shone at the Conservatoire as organist

444:

company under the stage name of Desmousseaux. He had known Felicité from his years at the Conservatoire, and her family home had become something of a refuge for him from his overbearing father. When in 1846 Nicolas-Joseph found a composition dedicated to "Mlle. F. Desmousseaux, in pleasant memories"

390:

was not forthcoming (although the King later sent César-Auguste a gold medal) and there was no money to be made. As far as Nicolas-Joseph was concerned, the excursion was a failure, and he brought his son back into a regime of teaching and family concerts in Paris, which Laurence Davies characterizes

506:

and to develop from it organ music fitting into the service between texts sung or spoken by the choir or clergy. Furthermore, Franck's playing ability and his love of the Cavaillé-Coll instruments led to his collaboration with the builder to demonstrate the latter's instruments, Franck travelling to

632:

for its characteristic drone effect. These compositions (dedicated to fellow organists and pianists, to his old master Benoist, and to Cavaillé-Coll) remain part of modern organ repertory and were, according to Rollin Smith, the first major contribution to French organ literature in over a century,

435:

of "abysmal literary quality" and a hastily sketched score. Franck himself was to say towards the end of his career that "it is not worth printing." All in all, however, this obscurity may have been restful for him after his previous life in the spotlight: "Franck was still very much in the dark as

1394:

remembered and employed the cyclic form, although their concepts of music were no longer the same as Franck's. Relating Franck as organist and composer to his place in French music, Rollin Smith states that "the concept of César Franck as organist and undisputed master of nineteenth-century French

1279:

s writing it has been said: "Franck, blissfully apt to forget that not every musician's hands were as enormous as his own, littered the piano part (the last movement in particular) with major-tenth chords... most mere pianistic mortals ever since have been obligated to spread them in order to play

1148: 742:

in 1872, Franck was proposed as successor. There is some uncertainty as to who made the nomination to the government; at different times Saint-Saëns and Theodore Dubois claimed responsibility, as did Cavaillé-Coll. What is certain is that Franck's name was at the head of the list of nominees—and

349:

Young Franck and his brother entered the Conservatoire in October 1837, César-Auguste continuing his piano studies under Zimmerman and beginning composition with Aimé Leborn. He took the first prize in piano at the end of his first year (1838) and consistently maintained that level of performance.

611:

for home practice to improve his technique, as well as spending many hours at the organ keyboard. The beauty of its sound and the mechanical facilities provided by the instrument assisted his reputation as improviser and composer, not only for organ music but in other genres as well. Pieces for

407:, and other musical notables, who gave moderate approval and constructive criticism. However, a public performance in early 1846 met with public indifference and critical snubs for the oratorio's artlessness and simplicity. The work was not performed again until 1872, after considerable revision. 1258:

or through inflection of a melodic phrase, arrive at harmonically remote keys. Indeed, Franck's students reported that his most frequent admonition was to always "modulate, modulate." Franck's modulatory style and his idiomatic method of inflecting melodic phrases are among his most recognizable

1205: 1188: 819:

itself finally saw its first performance in 1879. As with many other premieres of Franck's larger choral and orchestral works, it was not successful: the work was highly sectionalized and lent itself to performance of excerpts rather than as a whole. There was no orchestra available, and those

1291:

of Notre-Dame, wrote in his memoirs that Franck showed a "constant concern for the dignity of his art, for the nobility of his mission, and for the fervent sincerity of his sermon in sound... Joyous or melancholy, solemn or mystic, powerful or ethereal: Franck was all those at Sainte-Clotilde."

835:

Franck was finding, in the 1880s, that he was caught between two stylistic advocates: his wife Félicité, who did not care for changes in Franck's style from that to which she had first become accustomed and encouraged him to write commercially successful music; and his pupils, who had a perhaps

361:

His withdrawal may have been at his father's behest. While César-Auguste was pursuing his academic studies, he was, at his father's demand, also teaching privately and giving concerts. "It was a hard life for him, . . . and not made easier by the ill-tempered and even vindictive behavior of his

1003:, which are among the greatest treasures of organ literature, and which form a regular part of the repertory today. Of them, Vallas wrote: "Their beauty and importance are such that they may be properly considered as a kind of musical last will and testament." A more recent biographer, 1150: 606:

of Sainte-Clotilde: "If you only knew how I love this instrument . . . it is so supple beneath my fingers and so obedient to all my thoughts!". To prepare himself for this organ's capabilities (including its thirty-note pedal), Franck purchased a practice pedalboard from

439:

The first was an almost complete disruption of relations with his parents, especially his father. The main cause was his friendship with, and later love for, one of his private piano pupils, Eugénie-Félicité-Caroline Saillot (1824–1918), whose parents were members of the

1207: 1167: 828:--if it is permissible to link these terms—was a conception so alien to Franck's nature that he never succeeded in giving it adequate expression." The resulting "impression of monotony", as Vallas puts it, caused even Franck's devoted pupils to speculate on 975:

of a couple of years earlier, and performances of works by various of his pupils. In addition, he was still playing Sunday improvisations to usually large congregations at Sainte-Clotilde. He had in mind major works for organ and possibly a cello sonata.

776:. Vallas says that Franck, "with his simple and trusting nature was incapable of understanding . . . how much back-chat of the nastier kind there could be even in a Conservatoire whose atmosphere he himself always found kindly disposed towards him." 550:

states that Franck, pianist before he was organist, "never wholly acquired the legato style himself"; nevertheless he realized the expansion of organ style made possible by the introduction of such techniques and set about the task of mastering them.

597:

taking over as choirmaster and assistant organist. The impact of this organ on Franck's performance and composition cannot be overestimated; together with his early pianistic experience it shaped his music-making for the remainder of his life.

1169: 970:

was completed and performed in April 1890, and was well received by public and critics. There had been other recent successes, including his own performances as concert pianist in and around Paris, an enthusiastic reception of a revival of

695:

of earlier centuries. Franck composed his liturgical works in the then-current style, which Davies characterizes as "secular music with a religious bias". Nevertheless, he was encouraged to begin work (1869) on a major choral work,

1185: 737:

Franck's reputation was now widespread enough, through his fame as performer, his membership in the Société, and his smaller but devoted group of students, that when Benoist retired as professor of organ at the reopening of the

1262:

Franck had huge hands (evinced by the famous photo of him at the Ste-Clotilde organ), capable of spanning the interval of a 12th on the keyboard. This allowed him unusual flexibility in voice-leading between internal parts in

185:, he moved to Paris, where he married and embarked on a career as teacher and organist. He gained a reputation as a formidable musical improviser, and travelled widely within France to demonstrate new instruments built by 467:

Under Félicité's parents' friendly if vigilant eyes, he continued to court her. As soon as he turned 25 in 1847, he informed his father of his intention to marry Felicité, and did so on 22 February 1848, the month of the

1147: 1204: 912:

The continuing ambiguity of esteem in which Franck was held may be shown in the award which Franck's circle had thought long delayed in its presentation. On 4 August 1885, Franck was made a Chevalier of the French

1187: 936:. The controversy (not confined to Franck's immediate acquaintances) was not over the music, but over the philosophical and religious implications of the text (based on a poetic sketch by a certain Sicard and 885:

of 1879 (one of Saint-Saëns's particular dislikes) had proven itself an attention-getting and thought-provoking work (critics described it as having "disturbing vitality" and an "almost theatrical grimness").

766:. This group became increasingly tight-knit in their mutual esteem and affection between teacher and pupils. d'Indy relates that independently but unanimously each new student came to call their professor 410:

In reaction, César-Auguste essentially retired from public life to one of obscurity as a teacher and accompanist, in which his father reluctantly concurred. Young Franck had commissions both in Paris and in

1166: 909:, writing in the mid-twentieth century, says that the Sonata had "become Franck's most popular work, and, in France at least, the most generally accepted work in the whole repertoire of chamber music." 1149: 1206: 1178: 853:

How exactly all of this turmoil may have played out in the composer's mind is uncertain. It is certain that a number of his more "advanced" works appeared in this time period: the symphonic poems

208:

in 1872; he took French nationality, a requirement of the appointment. After acquiring the professorship, Franck wrote several pieces that have entered the standard classical repertoire, including

691:

Franck continued to write compositions for choir in this period, but most were never published. As was then common even for Conservatoire-trained musicians, he had never become familiar with the

293:. Although young César-Auguste, as he was known in his early years, showed both drawing and musical skills, Nicolas-Joseph envisioned him as a young prodigy pianist-composer, after the manner of 820:

sections that were performed were accompanied by piano. Further, even d'Indy points out that Franck seemed incapable of musically expressing an evil contrasting to the virtues expressed in the

538:

was at that time neglected in favour of the art of improvisation. Hesse's performances might have been treated simply as a short sensation for their dazzling virtuosity, but that Hesse's pupil

453:. "It was his intention to make a clean break with his father and to let it be known he had done so . . . . He was determined to become a new person, as different as possible from the other." 1168: 688:

at Notre-Dame in 1869. He began to have a regular circle of pupils, who were there ostensibly for organ study but showed increasing interest in Franck's compositional techniques.

620:(1859). The quality of the movements in this work, composed over a number of years, is uneven, but from it comes one of Franck's most enduring compositions, the communion anthem " 577:

In his search to master new organ-playing techniques he was both challenged and stimulated by his third and last change in organ posts. On 22 January 1858, he became organist and

322:

In 1835, his father resolved that the time had come for wider audiences, and brought César-Auguste and his younger brother Joseph to Paris, to study privately: counterpoint with

656:

His increasing reputation as both performer and improviser continued to make Franck much in demand for inaugural or dedicatory recitals of new or rebuilt Cavaillé-Coll organs:

1357:. His works were some of the finest organ pieces to come from France in over a century, and laid the groundwork for the French symphonic organ style. In particular, his early 5376: 1140: 1197: 1007:, has written in similar terms: "The sense of Franck bidding a protracted good-bye is evident throughout. ... It is hard, it is well-nigh impossible, to believe that the 1312:

Unusually for a composer of such importance and reputation, Franck's fame rests largely on a small number of compositions written in his later years, particularly his

4814: 1090: 684:

was including them in concerts in Germany on a regular basis. Franck reinforced his understanding of German organ music and how it should be played by hearing

1346:, which was originally written for tenor solo with organ and string accompaniment, but has also been arranged for other voices and instrumental combinations. 5366: 5226: 358:

in composition in the following year. However, for reasons that are not explicit, he made a "voluntary" retirement from the Conservatoire on 22 April 1842.

5311: 3133: 289:, to Nicolas-Joseph Franck, a bank clerk whose family came from the German-Belgian border, and Marie-Catherine-Barbe Franck (née Frings), who was from 350:

His work in counterpoint was less spectacular, taking successively third, second, and first prizes between 1838 and 1840. He added organ studies with

3123: 1283:

The key to his music may be found in his personality. His friends record that he was "a man of utmost humility, simplicity, reverence and industry."

589:), where he remained until his death. Eleven months later, the parish installed a new three-manual Cavaillé-Coll instrument, whereupon he was made 386:

The return to Belgium lasted less than two years. Profitable concerts did not arise; the critics were indifferent or scornful; patronage from the

1159: 5381: 2229:

Second edition, revised and expanded. Series: The Complete Organ No. 6; Juilliard Performance Guide No. 1. Hillsdale, NY: Pendragon Press.

415:

for these activities, and for the composition of songs and small works. He had offered some compositions to celebrate and strengthen the new

1638: 2413: 3477: 746:

Many of his original circle of students had studied or were studying at the Conservatoire. Among the most notable in later life were

503: 2347: 2328: 5271: 5261: 5251: 5201: 2295: 2443: 999:

While Franck could not complete the harmonium collection, the organ pieces were finished in August and September 1890. They are the

5316: 5286: 791:

He was now in a position to spend time composing works for which ideas had been germinating for years. He interrupted his work on

2694: 5371: 5341: 5196: 2585: 3648: 2461: 1106: 134: 5301: 5281: 5211: 5206: 1089:, a three-quarter bust of Franck, which in 1893 was placed on the side of the tomb. In 1904, a monument to Franck by sculptor 881:(1879–85). Many met with indifferent success or none, at least on their first presentations during Franck's lifetime; but the 5361: 5216: 5073: 2726: 2252: 2234: 657: 5246: 5236: 5231: 4744: 2762: 1353:. On the basis of a mere twelve major organ works, Franck is considered by many the greatest composer of organ music after 2627: 518:

At the same time, a revolutionary change was occurring in the techniques of French organ performance. The German organist

376: 5306: 5241: 3166: 1323: 866: 3571: 897:. This became a resounding success; Ysaÿe played it in Brussels, in Paris, and took it on tour, often with his brother 5331: 4586: 901:

at the piano. His last performance of the piece occurred in Paris during 1926, with the pianist on that occasion being

364: 2632: 602:

described this instrument as "unquestionably the constructor's masterpiece up to this time". Franck himself told the

5396: 5296: 2955: 2797: 2278: 2219: 2183: 2157: 2139: 715: 327: 286: 174: 63: 3551: 354:, which included both performance and improvisation, taking second prize in 1841, with the aim of competing for the 5266: 5256: 5351: 3546: 2843: 177:). He gave his first concerts there in 1834 and studied privately in Paris from 1835, where his teachers included 5356: 5326: 5321: 5221: 5088: 3252: 649: 582: 201: 116: 3607: 3257: 3031: 436:

to what his vocation was." However, two crucial changes in these years were to shape the remainder of his life.

5336: 3347: 2777: 2754: 661: 543: 4611: 302: 5112: 5096: 5013: 4531: 3643: 3597: 2674: 2669: 2529: 1318: 928:

The dissension between Franck's family and his circle of students reached a new height when Franck published

871: 637:." The group includes two of his best-known organ works, the "Prélude, Fugue et Variation", op. 18 and the " 2436: 5291: 5276: 4636: 4006: 2787: 2535: 2305: 1313: 1116: 1014:

Franck started the new term at the Conservatoire in October, but caught a cold mid-month. This turned into

950: 473: 469: 380: 3083: 228:. As a teacher and composer he had a vast following of composers and other musicians. His pupils included 5391: 4884: 4699: 4541: 2853: 2802: 2515: 1336: 1305: 1073:

spoke at the original gravesite at Montrouge. Later, Franck's body was moved to its current location at

855: 38: 4819: 3148: 2610: 1359: 638: 5346: 5144: 4521: 3750: 3262: 2400: 2389: 2311: 2291: 4829: 3495: 3272: 718:, of which Franck became the oldest member; his music appeared on its first program in November 1871. 312: 5068: 4468: 4419: 2719: 2150:

César Franck; a Translation from the French of Vincent d'Indy: with an Introduction by Rosa Newmarch.

707: 4749: 3906: 3628: 2301: 2203:

Ober, William B. (1970). "De Mortibus Musicorum: Some cases drawn from a pathologist's notebook."

1267:

composition, and in the wide chords and stretches featured in much of his keyboard music (e.g., his

1041:

The funeral mass for Franck was held at Sainte-Clotilde, attended by a large congregation including

702:, which was to occupy him for more than ten years, the delay partly due to the interruptions of the 495: 460: 186: 4967: 4789: 4679: 4669: 4606: 4372: 4057: 3118: 2848: 395:

saw them, offered encouragement and constructive criticism, and performed them some years later in

245: 4546: 3836: 2429: 2407: 673: 669: 5386: 4739: 4596: 4501: 4357: 3786: 3402: 2792: 2648: 2561: 967: 755: 539: 237: 3612: 3312: 1646: 966:. It was more sketched out than composed and Franck never completed it. In contrast, a massive 542:(1823–1881) came to Paris in 1852 and again in 1854. Lemmens was then professor of organ at the 510: 5170: 5078: 5033: 5028: 4724: 4616: 4516: 4027: 3801: 3740: 3357: 3128: 2556: 2551: 1331: 1327: 1134: 890: 847: 784: 739: 527: 441: 416: 342: 331: 205: 121: 4403: 4276: 4062: 3986: 3871: 3297: 1046: 914: 677: 507:

towns throughout France to show off older instruments or play inaugural concerts on new ones.

5083: 5048: 5038: 4972: 4799: 4774: 4734: 4684: 4581: 4434: 4281: 4093: 3950: 3891: 3725: 3720: 3674: 3602: 3541: 3427: 3186: 2833: 2782: 2759: 2396:"Panis angelicus" sung by Saint Philips Boys Choir (soloists Jaymi Bandtock & Sam Harper) 2364: 1354: 1350: 1074: 1030: 992:, where he hoped to work on the proposed organ pieces as well as some commissioned works for 985: 523: 519: 419:

of 1848; the public received some of them with interest, but as the Republic gave way to the

3638: 3113: 3098: 530:, had demonstrated in 1844 in Paris the pedal technique which (together with a German-style 456: 5191: 5186: 5131: 4704: 4266: 4153: 4078: 3791: 3755: 3457: 3437: 3191: 2878: 2818: 2712: 2344: 1255: 420: 316: 4804: 4621: 3856: 3633: 3490: 3211: 3176: 2339: 8: 5063: 4922: 4626: 4511: 4352: 3735: 3730: 3566: 3307: 3242: 2858: 2522: 1364: 1062: 861: 703: 665: 387: 4714: 4230: 4047: 3587: 3525: 3372: 3201: 721: 351: 5119: 4839: 4601: 4591: 4476: 4367: 4261: 4103: 4052: 3965: 3861: 3831: 3821: 3669: 3467: 3156: 3048: 2989: 2767: 2592: 2476: 1718: 1251: 1058: 779: 337: 298: 249: 4001: 3881: 3078: 594: 5053: 5023: 4987: 4932: 4854: 4784: 4709: 4646: 4551: 4536: 4506: 4347: 4322: 4296: 4235: 4225: 4123: 4118: 4113: 4108: 3776: 3745: 3689: 3684: 3500: 3485: 3407: 3292: 3237: 3161: 3073: 3026: 2929: 2919: 2883: 2749: 2373: 2274: 2248: 2230: 2215: 2179: 2153: 2135: 2128: 1710: 1382:

Franck exerted a significant influence on music. He helped to renew and reinvigorate

1070: 937: 894: 843: 751: 730: 634: 499: 404: 315:

and other faculty members. César-Auguste gave his first concerts in 1834, one before

233: 4393: 4388: 4271: 3108: 3058: 2578: 1379:

are a cornerstone of the organ repertoire, featuring regularly on concert programs.

1250:. In his compositions, Franck showed a talent and a penchant for frequent, graceful 1082: 793: 759: 698: 681: 424: 32: 5158: 4659: 4556: 4481: 4398: 4362: 4240: 4215: 4210: 3911: 3901: 3896: 3886: 3876: 3851: 3781: 3704: 3679: 3247: 3196: 3093: 2934: 2924: 2907: 2868: 2863: 2838: 1702: 1097:, was placed in the Square Samuel-Rousseau across the street from Sainte-Clotilde. 933: 692: 628:

for organ, written 1860–1862 (although not published until 1868), particularly the

599: 301:, who would bring fame and fortune to his family. His father entered Franck at the 217: 181:. After a brief return to Belgium, and a disastrous reception of an early oratorio 4834: 4824: 4042: 3816: 3653: 3317: 2995: 1054: 1050: 949:

Further controversy arose with the publication of Franck's only symphony, that in

192: 5058: 5043: 5018: 4942: 4874: 4869: 4864: 4779: 4764: 4719: 4654: 4526: 4496: 4342: 4337: 4220: 4143: 4133: 4083: 3991: 3866: 3760: 3699: 3694: 3561: 3505: 3422: 3412: 3232: 3216: 3171: 3138: 3011: 2961: 2899: 2888: 2653: 2351: 2315: 1342: 898: 747: 726: 714:

that would be distinctly French. The term became the motto of the newly founded

644: 621: 269: 241: 229: 150: 3377: 2772: 2161: 1395:

organ composition pervades nearly every reference to his works in other media."

1372: 1066: 494:, or primary organist. Franck's new church possessed a fine new organ (1846) by 4982: 4952: 4917: 4907: 4889: 4794: 4754: 4689: 4561: 4491: 4332: 4317: 4245: 4189: 4179: 4148: 4128: 4037: 3960: 3940: 3925: 3846: 3806: 3510: 3462: 3392: 3287: 3267: 3206: 3103: 2967: 2893: 2266: 1387: 1247: 1239: 1231: 685: 570: 531: 155: 4997: 4566: 3592: 3556: 3367: 2508: 2394: 2383: 2378: 2258: 2045: 1485: 1416: 1042: 906: 803: 547: 204:, a position he retained for the rest of his life. He became professor at the 5180: 4992: 4957: 4947: 4927: 4859: 4809: 4674: 4664: 4449: 4424: 4312: 4286: 4174: 3955: 3826: 3432: 3362: 3337: 3327: 3282: 2982: 2483: 2355: 2332: 1714: 1391: 1383: 1086: 1034: 1011:

composer retained any illusions about his chances of full physical mending."

942: 877: 608: 213: 4184: 1025: 4962: 4937: 4912: 4879: 4849: 4769: 4729: 4631: 4576: 4486: 4454: 4444: 4429: 4169: 4032: 4022: 3996: 3841: 3796: 3520: 3452: 3442: 3382: 3332: 3277: 3088: 3006: 2977: 2828: 1368: 1284: 1078: 1019: 954: 839: 772: 763: 355: 323: 253: 178: 4327: 1300: 4977: 4844: 4694: 4291: 4194: 4138: 3945: 3811: 3515: 3447: 3181: 3042: 3001: 2950: 2823: 2735: 2240: 1243: 1112: 1004: 399:. In 1843, Franck began work on his first non-chamber work, the oratorio 392: 294: 2360: 562: 4098: 3417: 3397: 3387: 3036: 2873: 2369: 1363:, a twenty-five-minute work, paved the way for the organ symphonies of 1222: 993: 821: 613: 221: 2227:

Toward an Authentic Interpretation of the Organ Works of César Franck.

1722: 1690: 1065:(who succeeded Franck as professor of organ at the Conservatoire) and 676:; for some of these instruments, Franck had acted (by himself or with 412: 307: 4759: 4088: 3970: 3302: 3021: 481: 209: 2406: 4899: 2490: 2214:

Series: The Complete Organ No. 1. Hillsdale, NY: Pendragon Press

1706: 1015: 962: 902: 535: 432: 163: 282: 274: 170: 59: 4571: 3322: 2913: 1235: 989: 290: 159: 984:

In July 1890 , Franck was riding in a cab which was struck by a

486: 3016: 2421: 2320: 396: 2704: 996:. During the vacation, he was able to start on both projects. 1264: 1254:

of key. Often these modulatory sequences, achieved through a

490:

and two years later invited Franck to assume the position of

225: 2176:

A Basic Music Library- Essential Scores and Sound Recordings

2152:

London: John Lane, Bodley Head. Reprinted 1965 NY: Dover.

1415:

d'Indy calls Nicolas-Joseph "stern and autocratic" (p. 31);

616:

began to circulate, among the most notable of which was the

2972: 722:"Père Franck", Conservatory professor, composer (1872–1890) 554: 1349:

As an organist he was particularly noted for his skill in

427:, they dropped out of use. In 1851 he attempted an opera, 1077:

in Paris, into a tomb designed by his friend, architect

196:

Stained glass located in Basilica of St. Clotilde, Paris

2338:

Performances of works by César Franck in MP3 format at

960:

In 1888, Franck tried his hand again at another opera,

5142: 5377:

Academic staff of the Royal Conservatory of Brussels

1419:

bluntly refers to "commercial exploitation" (p. 16)

797:to produce (among many shorter works) the oratorio 403:. It was privately premiered in 1845 before Liszt, 371: 154:; 10 December 1822 – 8 November 1890) was a French 2127: 1304:Monument to Franck at the Square Samuel-Rousseau, 633:and "the most important organ music written since 932:(written 1886–88), a symphonic poem based on the 166:, and music teacher born in present-day Belgium. 5178: 2269:. New York: Oxford University Press. Trans. of 264: 173:(which at the time of his birth was part of the 16:Belgian-French composer and organist (1822–1890) 1213:Performed by Tibor Szomora and Minami Matsunaga 787:, where Franck lived from 1865 until his death 2720: 2437: 2125: 1045:(officially representing the Conservatoire), 5367:Pupils of Pierre-Joseph-Guillaume Zimmermann 5227:Academic staff of the Conservatoire de Paris 893:as a wedding gift for the Belgian violinist 5312:19th-century French male classical pianists 2194:Norton/Grove Concise Encyclopedia of Music. 2126:Boyden, Matthew; Buckley, Jonathan (1994). 2727: 2713: 2444: 2430: 143:César-Auguste-Jean-Guillaume-Hubert Franck 31: 2296:International Music Score Library Project 2178:. Chicago: American Library Association. 1454: 1452: 1242:, showing a great deal of influence from 801:(1871, revised 1874), the symphonic poem 2212:Playing the Organ Works of César Franck. 1639:"Orgue Cavaillé-Coll Ste-Clotilde Paris" 1299: 1081:. A number of Franck's students, led by 1024: 838: 778: 733:, one of Franck's most notable students. 725: 643: 561: 509: 455: 375: 336: 319:of the newly formed Kingdom of Belgium. 268: 191: 2586:Les Sept Paroles du Christ sur la Croix 1688: 1636: 1085:, commissioned a bronze medallion from 330:. Both men were also professors at the 5179: 1691:"César Franck: Mind, Flesh and Spirit" 1449: 1386:and developed the use of cyclic form. 1328:Sonata for Violin and Piano in A major 1179:III. Recitativo-Fantasia: Ben moderato 5074:Romanticism and the French Revolution 2708: 2425: 2385:"Panis angelicus" sung by Chloë Agnew 2271:La véritable histoire de César Franck 2173: 2162:original French version on Wikisource 2130:Classical Music on CD-The Rough Guide 1684: 1682: 624:". More notable still is the set of 151:[sezaʁoɡystʒɑ̃ɡijomybɛʁfʁɑ̃k] 149: 1322:for piano and orchestra (1885), the 1107:List of compositions by César Franck 979: 832:viability as a single unified work. 2247:Lanham, Maryland: Scarecrow Press. 200:In 1858, he became organist at the 13: 5382:Royal Conservatory of Liège alumni 2321:International César Franck Society 2198:Grove Concise Dictionary of Music. 1679: 1221:Problems playing these files? See 1124: 14: 5408: 2285: 2245:César Franck: His Life and Times. 311:, piano, organ, and harmony with 287:United Kingdom of the Netherlands 175:United Kingdom of the Netherlands 64:United Kingdom of the Netherlands 5272:Burials at Montparnasse Cemetery 5262:Belgian people of German descent 5252:Belgian male classical composers 5202:19th-century classical composers 5164: 5152: 5127: 5126: 2690: 2689: 2451: 1676:quoted in d'Indy, p. 41-42, note 1202: 1183: 1164: 1145: 811:for organ (1878), and the piano 783:Plaque on the house, at n°95 du 658:Louis James Alfred Lefébure-Wély 372:Teacher and organist (1842–1858) 5317:French male classical composers 5287:Knights of the Legion of Honour 2734: 2102: 2085: 2076: 2063: 2038: 2029: 2020: 2011: 2002: 1993: 1984: 1975: 1966: 1957: 1948: 1939: 1930: 1921: 1912: 1903: 1894: 1885: 1876: 1867: 1858: 1849: 1840: 1831: 1822: 1813: 1804: 1795: 1782: 1773: 1760: 1751: 1742: 1729: 1670: 1661: 1630: 1617: 1608: 1599: 1590: 1581: 1572: 1563: 1554: 1545: 1536: 1527: 1518: 1509: 1500: 1334:(1879), and the symphonic poem 1111:Many of Franck's works employ " 846:, to whom Franck dedicated his 664:(1862) and later for organs at 202:Basilica of St. Clotilde, Paris 117:Basilica of St. Clotilde, Paris 5372:Road incident deaths in France 5342:Naturalized citizens of France 5197:19th-century Belgian composers 2207:vol. 25 no. 5 (November 1970). 2174:Davis, Elizabeth, ed. (1997). 1491: 1479: 1470: 1461: 1440: 1431: 1422: 1409: 558:of Sainte-Clotilde (1858–1890) 544:Royal Conservatory of Brussels 514:Organ of Notre-Dame-de-Lorette 1: 5302:Conservatoire de Paris alumni 5282:Catholic liturgical composers 5212:19th-century Belgian pianists 5207:19th-century French composers 5097:Wanderer above the Sea of Fog 2670:Cello Sonata (Franck/Delsart) 1643:www.orgue-clotilde-paris.info 1398: 1287:, a pupil and later organist 265:Child and student (1822–1842) 5217:19th-century French pianists 2306:Choral Public Domain Library 2168:César Franck and His Circle. 1403: 1238:that is prototypically late 889:In 1886 Franck composed the 716:Société Nationale de Musique 381:Notre-Dame-de-Lorette, Paris 259: 7: 5247:Belgian emigrants to France 5237:Belgian classical organists 5232:Belgian classical composers 2302:Free scores by César Franck 2292:Free scores by César Franck 2200:). New York: Norton, 1988. 2046:"Auguste Rodin – Biography" 1326:for piano solo (1884), the 1135:Sonata for Violin and Piano 867:Prelude, Chorale, and Fugue 824:: "This personification of 573:, 1885 (private collection) 567:César Franck at the console 303:Royal Conservatory of Liège 10: 5413: 5362:Pupils of François Benoist 5307:French classical organists 5242:Belgian classical pianists 5014:Coleridge's theory of life 2166:Davies, Laurence (1970). 2118: 1324:Prelude, Chorale and Fugue 1141:I. Allegretto ben moderato 1104: 612:organ, for choir, and for 522:(1809–1863), a student of 5332:French Romantic composers 5106: 5069:Romanticism and economics 5006: 4898: 4645: 4467: 4412: 4381: 4305: 4254: 4203: 4162: 4071: 4015: 3979: 3933: 3924: 3769: 3713: 3662: 3621: 3580: 3534: 3476: 3346: 3225: 3147: 3084:Manuel Antônio de Almeida 3066: 3057: 2943: 2811: 2742: 2686: 2662: 2641: 2620: 2602: 2570: 2544: 2500: 2468: 2459: 2170:Boston: Houghton Mifflin. 2148:d'Indy, Vincent (1910). 1788:Vallas, p. 137-8; Smith, 1295: 1198:IV. Allegretto poco mosso 1095:César Franck at the Organ 587:Basilique-Sainte-Clotilde 581:at the newly consecrated 365:Revue et Gazette musicale 130: 109: 86: 70: 45: 30: 23: 5397:Male classical organists 5297:Composers for pipe organ 2849:German historical school 2628:Prélude, Choral et Fugue 2611:Grande Pièce Symphonique 2350:14 February 2010 at the 2134:. London: Rough Guides. 2095:p. 43, quoted in Smith, 1689:Thomson, Andrew (1990). 1360:Grande Pièce Symphonique 1332:Piano Quintet in F minor 1100: 639:Grande Pièce Symphonique 37:Franck, photographed by 5267:Belgian Roman Catholics 5257:Belgian music educators 3496:Józef Ignacy Kraszewski 2414:Encyclopædia Britannica 2210:Smith, Rollin (1997). 540:Jacques-Nicolas Lemmens 313:Joseph Daussoigne-Méhul 277:, where Franck was born 5357:Pupils of Anton Reicha 5327:French Roman Catholics 5322:French music educators 5222:19th-century organists 5079:Romanticism in science 5034:Middle Ages in history 5029:List of Romantic poets 3741:Josiah Gilbert Holland 2633:Prélude, Aria et Final 2417:(11th ed.). 1911. 2324:(in German and French) 1637:Hildebrandt, Vincent. 1309: 1129: 1038: 875:(1885), and the opera 869:for piano (1884), the 850: 788: 785:boulevard Saint-Michel 734: 653: 574: 528:Johann Nikolaus Forkel 515: 496:Aristide Cavaillé-Coll 464: 461:Aristide Cavaillé-Coll 383: 346: 278: 197: 187:Aristide Cavaillé-Coll 122:Conservatoire de Paris 5337:French male organists 5049:Romantic epistemology 5039:Opium and Romanticism 3608:Stojadinović-Srpkinja 2834:Counter-Enlightenment 2408:"Franck, César" 2379:Official MySpace Page 2340:Logos Virtual Library 1303: 1128: 1105:Further information: 1075:Montparnasse Cemetery 1031:Montparnasse Cemetery 1028: 842: 782: 729: 706:. The war, like the 670:Saint-Étienne-du-Mont 660:'s new instrument at 647: 565: 513: 474:Notre-Dame-de-Lorette 459: 379: 340: 272: 195: 147:French pronunciation: 5352:Musicians from Liège 5113:Age of Enlightenment 2755:England (literature) 2676:Symphonic Variations 2530:Symphonic Variations 2462:List of compositions 1667:Vallas, p. 112, note 1319:Symphonic Variations 872:Symphonic Variations 135:List of compositions 5292:Composers for piano 5277:Cathedral organists 5064:Romantic psychology 2859:Hudson River School 2803:Sweden (literature) 2788:Russia (literature) 2536:Symphony in D minor 1981:Stove, pp. 279, 295 1365:Charles-Marie Widor 1314:Symphony in D minor 1275:for organ). Of the 1230:His music is often 1117:Symphony in D minor 1063:Charles-Marie Widor 1047:Camille Saint-Saëns 986:horse-drawn trolley 943:The Song of Solomon 740:Paris Conservatoire 704:Franco-Prussian War 678:Camille Saint-Saëns 343:Paris Conservatoire 341:School building of 332:Paris Conservatoire 285:, then part of the 281:Franck was born in 206:Paris Conservatoire 5392:Oratorio composers 3049:White Mountain art 2990:Historical fiction 2798:Spain (literature) 2649:École César Franck 2516:Le Chasseur maudit 2192:"Franck, César." 2026:Vallas, p. 234-235 1999:Stove, pp. 283–284 1954:Vallas, p. 211-213 1649:on 27 October 2017 1337:Le Chasseur maudit 1310: 1306:7th arrondissement 1130: 1059:Alexandre Guilmant 1039: 1029:Franck's grave at 856:Le Chasseur maudit 851: 789: 735: 654: 579:maître de chapelle 575: 516: 465: 384: 347: 299:Sigismond Thalberg 279: 250:Charles Tournemire 198: 5347:Organ improvisers 5140: 5139: 5054:Romantic medicine 5024:List of romantics 4463: 4462: 4114:Felix Mendelssohn 4109:Fanny Mendelssohn 3920: 3919: 3634:Rosalía de Castro 3572:Soares dos Passos 2920:Transcendentalism 2884:Nazarene movement 2844:Düsseldorf School 2702: 2701: 2253:978-0-8108-8207-2 2235:978-1-57647-076-3 2050:www.rodin-web.org 1701:(1774): 639–641. 1695:The Musical Times 1236:harmonic language 1234:complex, using a 1208: 1189: 1170: 1151: 1071:Emmanuel Chabrier 1033:, with a bust by 980:Illness and death 938:Louis de Fourcaud 865:(1883–1884), the 822:Gospel beatitudes 442:Comédie-Française 429:Le Valet de Ferme 345:, used until 1911 140: 139: 5404: 5169: 5168: 5167: 5157: 5156: 5155: 5148: 5130: 5129: 5089:Evolution theory 3931: 3930: 3064: 3063: 2925:Ukrainian school 2729: 2722: 2715: 2706: 2705: 2693: 2692: 2663:Related articles 2446: 2439: 2432: 2423: 2422: 2418: 2410: 2397: 2386: 2325: 2189: 2145: 2133: 2113: 2106: 2100: 2089: 2083: 2080: 2074: 2067: 2061: 2060: 2058: 2056: 2042: 2036: 2033: 2027: 2024: 2018: 2015: 2009: 2006: 2000: 1997: 1991: 1988: 1982: 1979: 1973: 1970: 1964: 1961: 1955: 1952: 1946: 1943: 1937: 1934: 1928: 1927:d'Indy, p. 173-4 1925: 1919: 1916: 1910: 1907: 1901: 1898: 1892: 1889: 1883: 1880: 1874: 1871: 1865: 1862: 1856: 1853: 1847: 1844: 1838: 1835: 1829: 1826: 1820: 1817: 1811: 1808: 1802: 1799: 1793: 1786: 1780: 1777: 1771: 1764: 1758: 1755: 1749: 1746: 1740: 1733: 1727: 1726: 1686: 1677: 1674: 1668: 1665: 1659: 1658: 1656: 1654: 1645:. Archived from 1634: 1628: 1621: 1615: 1612: 1606: 1603: 1597: 1594: 1588: 1585: 1579: 1576: 1570: 1567: 1561: 1558: 1552: 1549: 1543: 1540: 1534: 1531: 1525: 1522: 1516: 1513: 1507: 1504: 1498: 1495: 1489: 1483: 1477: 1474: 1468: 1465: 1459: 1456: 1447: 1444: 1438: 1435: 1429: 1426: 1420: 1413: 1273:Troisième Choral 1210: 1209: 1191: 1190: 1172: 1171: 1153: 1152: 1127: 915:Légion d'honneur 693:polyphonic music 600:Norbert Dufourcq 352:François Benoist 328:Pierre Zimmerman 153: 148: 102:Academic teacher 77: 56:10 December 1822 55: 53: 35: 21: 20: 5412: 5411: 5407: 5406: 5405: 5403: 5402: 5401: 5177: 5176: 5175: 5171:Classical music 5165: 5163: 5153: 5151: 5143: 5141: 5136: 5135: 5124: 5116: 5102: 5059:Romantic poetry 5044:Romantic ballet 5019:German idealism 5002: 4968:Lacoue-Labarthe 4894: 4641: 4459: 4408: 4377: 4358:Rimsky-Korsakov 4301: 4250: 4199: 4158: 4067: 4011: 3975: 3916: 3765: 3709: 3658: 3617: 3576: 3530: 3472: 3413:Maria Edgeworth 3349: 3342: 3221: 3143: 3053: 3032:Romantic genius 2962:Gesamtkunstwerk 2939: 2900:Sturm und Drang 2807: 2738: 2733: 2703: 2698: 2682: 2658: 2654:Franck Nunataks 2637: 2616: 2598: 2566: 2540: 2501:Symphonic music 2496: 2464: 2455: 2450: 2405: 2395: 2384: 2352:Wayback Machine 2323: 2316:Mutopia Project 2288: 2283: 2196:(Pub. in UK as 2186: 2142: 2121: 2116: 2107: 2103: 2090: 2086: 2081: 2077: 2068: 2064: 2054: 2052: 2044: 2043: 2039: 2034: 2030: 2025: 2021: 2016: 2012: 2007: 2003: 1998: 1994: 1989: 1985: 1980: 1976: 1971: 1967: 1962: 1958: 1953: 1949: 1944: 1940: 1935: 1931: 1926: 1922: 1917: 1913: 1908: 1904: 1899: 1895: 1890: 1886: 1881: 1877: 1872: 1868: 1863: 1859: 1854: 1850: 1845: 1841: 1836: 1832: 1827: 1823: 1818: 1814: 1809: 1805: 1800: 1796: 1787: 1783: 1778: 1774: 1765: 1761: 1756: 1752: 1747: 1743: 1734: 1730: 1687: 1680: 1675: 1671: 1666: 1662: 1652: 1650: 1635: 1631: 1622: 1618: 1613: 1609: 1604: 1600: 1595: 1591: 1586: 1582: 1577: 1573: 1568: 1564: 1560:Vallas, p. 84-5 1559: 1555: 1550: 1546: 1541: 1537: 1532: 1528: 1524:Vallas, p. 75-6 1523: 1519: 1514: 1510: 1505: 1501: 1496: 1492: 1484: 1480: 1475: 1471: 1466: 1462: 1457: 1450: 1445: 1441: 1436: 1432: 1427: 1423: 1414: 1410: 1406: 1401: 1375:, and his late 1343:Panis angelicus 1316:(1886–88), the 1298: 1228: 1227: 1219: 1217: 1216: 1215: 1214: 1211: 1203: 1200: 1194: 1193: 1192: 1184: 1181: 1175: 1174: 1173: 1165: 1162: 1156: 1155: 1154: 1146: 1143: 1137: 1131: 1125: 1109: 1103: 1018:complicated by 982: 923:Les Béatitudes. 830:Les Béatitudes' 748:Ernest Chausson 724: 708:1848 Revolution 650:Sainte-Clotilde 622:Panis angelicus 595:Théodore Dubois 585:(from 1896 the 583:Sainte-Clotilde 560: 417:Second Republic 374: 326:and piano with 273:House Grady in 267: 262: 242:Guillaume Lekeu 230:Ernest Chausson 169:He was born in 146: 126: 105: 82: 79: 75: 74:8 November 1890 66: 57: 51: 49: 41: 26: 17: 12: 11: 5: 5410: 5400: 5399: 5394: 5389: 5387:Walloon people 5384: 5379: 5374: 5369: 5364: 5359: 5354: 5349: 5344: 5339: 5334: 5329: 5324: 5319: 5314: 5309: 5304: 5299: 5294: 5289: 5284: 5279: 5274: 5269: 5264: 5259: 5254: 5249: 5244: 5239: 5234: 5229: 5224: 5219: 5214: 5209: 5204: 5199: 5194: 5189: 5174: 5173: 5161: 5138: 5137: 5117: 5109: 5108: 5107: 5104: 5103: 5101: 5100: 5093: 5092: 5091: 5086: 5076: 5071: 5066: 5061: 5056: 5051: 5046: 5041: 5036: 5031: 5026: 5021: 5016: 5010: 5008: 5007:Related topics 5004: 5003: 5001: 5000: 4995: 4990: 4985: 4980: 4975: 4970: 4965: 4960: 4955: 4950: 4945: 4940: 4935: 4930: 4925: 4920: 4915: 4910: 4904: 4902: 4896: 4895: 4893: 4892: 4887: 4882: 4877: 4872: 4867: 4862: 4857: 4852: 4847: 4842: 4837: 4832: 4827: 4822: 4817: 4812: 4807: 4802: 4797: 4792: 4787: 4782: 4777: 4772: 4767: 4762: 4757: 4752: 4747: 4742: 4737: 4735:Gallen-Kallela 4732: 4727: 4722: 4717: 4712: 4710:David d'Angers 4707: 4702: 4697: 4692: 4687: 4682: 4677: 4672: 4667: 4662: 4657: 4651: 4649: 4647:Visual artists 4643: 4642: 4640: 4639: 4634: 4629: 4624: 4619: 4614: 4609: 4607:Schleiermacher 4604: 4599: 4594: 4589: 4584: 4579: 4574: 4569: 4564: 4559: 4554: 4549: 4544: 4539: 4534: 4529: 4524: 4519: 4514: 4509: 4504: 4499: 4494: 4489: 4484: 4479: 4473: 4471: 4465: 4464: 4461: 4460: 4458: 4457: 4452: 4447: 4442: 4437: 4432: 4427: 4422: 4416: 4414: 4410: 4409: 4407: 4406: 4401: 4396: 4391: 4385: 4383: 4379: 4378: 4376: 4375: 4370: 4365: 4360: 4355: 4350: 4345: 4340: 4335: 4330: 4325: 4320: 4315: 4309: 4307: 4303: 4302: 4300: 4299: 4294: 4289: 4284: 4279: 4274: 4269: 4264: 4258: 4256: 4252: 4251: 4249: 4248: 4243: 4238: 4233: 4228: 4223: 4218: 4213: 4207: 4205: 4201: 4200: 4198: 4197: 4192: 4187: 4182: 4177: 4172: 4166: 4164: 4160: 4159: 4157: 4156: 4151: 4146: 4141: 4136: 4131: 4126: 4121: 4116: 4111: 4106: 4101: 4096: 4091: 4086: 4081: 4075: 4073: 4069: 4068: 4066: 4065: 4060: 4055: 4050: 4045: 4040: 4035: 4030: 4025: 4019: 4017: 4013: 4012: 4010: 4009: 4004: 3999: 3994: 3989: 3983: 3981: 3977: 3976: 3974: 3973: 3968: 3963: 3958: 3953: 3948: 3943: 3937: 3935: 3928: 3922: 3921: 3918: 3917: 3915: 3914: 3909: 3904: 3899: 3894: 3889: 3884: 3879: 3874: 3872:Oehlenschläger 3869: 3864: 3859: 3854: 3849: 3844: 3839: 3834: 3829: 3824: 3819: 3814: 3809: 3804: 3799: 3794: 3789: 3784: 3779: 3773: 3771: 3767: 3766: 3764: 3763: 3758: 3753: 3748: 3743: 3738: 3733: 3728: 3723: 3717: 3715: 3711: 3710: 3708: 3707: 3702: 3697: 3692: 3687: 3682: 3677: 3672: 3666: 3664: 3660: 3659: 3657: 3656: 3651: 3646: 3641: 3636: 3631: 3625: 3623: 3619: 3618: 3616: 3615: 3610: 3605: 3600: 3595: 3590: 3584: 3582: 3578: 3577: 3575: 3574: 3569: 3564: 3559: 3554: 3549: 3544: 3542:Castelo Branco 3538: 3536: 3532: 3531: 3529: 3528: 3523: 3518: 3513: 3508: 3503: 3498: 3493: 3488: 3482: 3480: 3474: 3473: 3471: 3470: 3465: 3460: 3455: 3450: 3445: 3440: 3435: 3430: 3425: 3420: 3415: 3410: 3405: 3400: 3395: 3390: 3385: 3380: 3375: 3370: 3365: 3360: 3354: 3352: 3344: 3343: 3341: 3340: 3335: 3330: 3325: 3320: 3315: 3310: 3305: 3300: 3295: 3290: 3285: 3280: 3275: 3270: 3268:Brothers Grimm 3265: 3260: 3255: 3250: 3245: 3240: 3235: 3229: 3227: 3223: 3222: 3220: 3219: 3214: 3209: 3204: 3199: 3194: 3189: 3184: 3179: 3174: 3169: 3164: 3159: 3153: 3151: 3145: 3144: 3142: 3141: 3136: 3131: 3126: 3121: 3116: 3111: 3106: 3101: 3096: 3091: 3086: 3081: 3076: 3070: 3068: 3061: 3055: 3054: 3052: 3051: 3046: 3039: 3034: 3029: 3024: 3019: 3014: 3009: 3004: 2999: 2992: 2987: 2986: 2985: 2980: 2970: 2968:Gothic fiction 2965: 2958: 2956:British Marine 2953: 2947: 2945: 2941: 2940: 2938: 2937: 2932: 2927: 2922: 2917: 2910: 2905: 2904: 2903: 2891: 2886: 2881: 2876: 2871: 2866: 2861: 2856: 2854:Gothic revival 2851: 2846: 2841: 2836: 2831: 2826: 2821: 2815: 2813: 2809: 2808: 2806: 2805: 2800: 2795: 2790: 2785: 2780: 2775: 2770: 2765: 2757: 2752: 2746: 2744: 2740: 2739: 2732: 2731: 2724: 2717: 2709: 2700: 2699: 2687: 2684: 2683: 2681: 2680: 2672: 2666: 2664: 2660: 2659: 2657: 2656: 2651: 2645: 2643: 2639: 2638: 2636: 2635: 2630: 2624: 2622: 2618: 2617: 2615: 2614: 2606: 2604: 2600: 2599: 2597: 2596: 2589: 2582: 2579:Les Béatitudes 2574: 2572: 2568: 2567: 2565: 2564: 2562:String Quartet 2559: 2554: 2548: 2546: 2542: 2541: 2539: 2538: 2533: 2526: 2519: 2512: 2504: 2502: 2498: 2497: 2495: 2494: 2487: 2480: 2472: 2470: 2466: 2465: 2460: 2457: 2456: 2449: 2448: 2441: 2434: 2426: 2420: 2419: 2403: 2392: 2381: 2376: 2367: 2358: 2342: 2336: 2326: 2318: 2309: 2299: 2287: 2286:External links 2284: 2282: 2281: 2267:Hubert J. Foss 2256: 2238: 2223: 2208: 2205:Stereo Review, 2201: 2190: 2184: 2171: 2164: 2146: 2140: 2122: 2120: 2117: 2115: 2114: 2101: 2093:Mes Souvenirs, 2084: 2075: 2073:p. 36, note 87 2062: 2037: 2028: 2019: 2010: 2001: 1992: 1990:Vallas, p. 232 1983: 1974: 1972:Vallas, p. 216 1965: 1963:Vallas, p. 212 1956: 1947: 1938: 1929: 1920: 1918:Vallas, p. 206 1911: 1909:Vallas, p. 185 1902: 1893: 1891:Vallas, p. 198 1884: 1875: 1873:Vallas, p. 168 1866: 1864:Vallas, p. 243 1857: 1855:Vallas, p. 247 1848: 1846:Vallas, p. 163 1839: 1837:d'Indy, p. 223 1830: 1828:Vallas, p. 152 1821: 1819:d'Indy, p. 247 1812: 1810:d'Indy, p. 235 1803: 1794: 1781: 1779:Vallas, p. 135 1772: 1759: 1750: 1748:Vallas, p. 127 1741: 1728: 1707:10.2307/966717 1678: 1669: 1660: 1629: 1616: 1614:Vallas, p. 104 1607: 1605:Vallas, p. 103 1598: 1596:Vallas, p. 100 1589: 1587:Vallas, p. 102 1580: 1571: 1562: 1553: 1544: 1535: 1533:Vallas, p. 105 1526: 1517: 1508: 1506:d'Indy, p. 111 1499: 1490: 1478: 1469: 1460: 1448: 1439: 1430: 1421: 1407: 1405: 1402: 1400: 1397: 1388:Claude Debussy 1297: 1294: 1280:them at all." 1277:Violin Sonata' 1248:Richard Wagner 1232:contrapuntally 1218: 1212: 1201: 1196: 1195: 1182: 1177: 1176: 1163: 1158: 1157: 1144: 1139: 1138: 1133: 1132: 1123: 1122: 1121: 1102: 1099: 1083:Augusta Holmès 981: 978: 968:String Quartet 951:D minor (1888) 817:Les Béatitudes 794:Les Béatitudes 760:Augusta Holmès 752:Vincent d'Indy 731:Vincent d'Indy 723: 720: 699:Les Béatitudes 686:Anton Bruckner 682:Hans von Bülow 618:Messe à 3 voix 571:Jeanne Rongier 569:, painting by 559: 553: 484:district), as 425:Louis-Napoléon 373: 370: 266: 263: 261: 258: 234:Vincent d'Indy 138: 137: 132: 128: 127: 125: 124: 119: 113: 111: 107: 106: 104: 103: 100: 97: 94: 90: 88: 84: 83: 80: 78:(aged 67) 72: 68: 67: 58: 47: 43: 42: 36: 28: 27: 24: 15: 9: 6: 4: 3: 2: 5409: 5398: 5395: 5393: 5390: 5388: 5385: 5383: 5380: 5378: 5375: 5373: 5370: 5368: 5365: 5363: 5360: 5358: 5355: 5353: 5350: 5348: 5345: 5343: 5340: 5338: 5335: 5333: 5330: 5328: 5325: 5323: 5320: 5318: 5315: 5313: 5310: 5308: 5305: 5303: 5300: 5298: 5295: 5293: 5290: 5288: 5285: 5283: 5280: 5278: 5275: 5273: 5270: 5268: 5265: 5263: 5260: 5258: 5255: 5253: 5250: 5248: 5245: 5243: 5240: 5238: 5235: 5233: 5230: 5228: 5225: 5223: 5220: 5218: 5215: 5213: 5210: 5208: 5205: 5203: 5200: 5198: 5195: 5193: 5190: 5188: 5185: 5184: 5182: 5172: 5162: 5160: 5150: 5149: 5146: 5134: 5133: 5122: 5121: 5115: 5114: 5105: 5099: 5098: 5094: 5090: 5087: 5085: 5082: 5081: 5080: 5077: 5075: 5072: 5070: 5067: 5065: 5062: 5060: 5057: 5055: 5052: 5050: 5047: 5045: 5042: 5040: 5037: 5035: 5032: 5030: 5027: 5025: 5022: 5020: 5017: 5015: 5012: 5011: 5009: 5005: 4999: 4996: 4994: 4991: 4989: 4986: 4984: 4981: 4979: 4976: 4974: 4971: 4969: 4966: 4964: 4961: 4959: 4956: 4954: 4951: 4949: 4946: 4944: 4941: 4939: 4936: 4934: 4931: 4929: 4926: 4924: 4921: 4919: 4916: 4914: 4911: 4909: 4906: 4905: 4903: 4901: 4897: 4891: 4888: 4886: 4883: 4881: 4878: 4876: 4873: 4871: 4868: 4866: 4863: 4861: 4858: 4856: 4853: 4851: 4848: 4846: 4843: 4841: 4838: 4836: 4833: 4831: 4828: 4826: 4823: 4821: 4818: 4816: 4813: 4811: 4808: 4806: 4803: 4801: 4798: 4796: 4793: 4791: 4788: 4786: 4783: 4781: 4778: 4776: 4773: 4771: 4768: 4766: 4763: 4761: 4758: 4756: 4753: 4751: 4748: 4746: 4743: 4741: 4738: 4736: 4733: 4731: 4728: 4726: 4723: 4721: 4718: 4716: 4713: 4711: 4708: 4706: 4703: 4701: 4698: 4696: 4693: 4691: 4688: 4686: 4683: 4681: 4678: 4676: 4673: 4671: 4668: 4666: 4663: 4661: 4658: 4656: 4653: 4652: 4650: 4648: 4644: 4638: 4635: 4633: 4630: 4628: 4625: 4623: 4620: 4618: 4615: 4613: 4610: 4608: 4605: 4603: 4600: 4598: 4595: 4593: 4590: 4588: 4585: 4583: 4580: 4578: 4575: 4573: 4570: 4568: 4565: 4563: 4560: 4558: 4555: 4553: 4550: 4548: 4545: 4543: 4540: 4538: 4535: 4533: 4530: 4528: 4525: 4523: 4520: 4518: 4515: 4513: 4510: 4508: 4505: 4503: 4500: 4498: 4495: 4493: 4490: 4488: 4485: 4483: 4480: 4478: 4475: 4474: 4472: 4470: 4466: 4456: 4453: 4451: 4448: 4446: 4443: 4441: 4438: 4436: 4433: 4431: 4428: 4426: 4423: 4421: 4418: 4417: 4415: 4411: 4405: 4402: 4400: 4397: 4395: 4392: 4390: 4387: 4386: 4384: 4380: 4374: 4371: 4369: 4366: 4364: 4361: 4359: 4356: 4354: 4351: 4349: 4346: 4344: 4341: 4339: 4336: 4334: 4331: 4329: 4326: 4324: 4321: 4319: 4316: 4314: 4311: 4310: 4308: 4304: 4298: 4295: 4293: 4290: 4288: 4285: 4283: 4280: 4278: 4275: 4273: 4270: 4268: 4265: 4263: 4260: 4259: 4257: 4253: 4247: 4244: 4242: 4239: 4237: 4234: 4232: 4229: 4227: 4224: 4222: 4219: 4217: 4214: 4212: 4209: 4208: 4206: 4202: 4196: 4193: 4191: 4188: 4186: 4183: 4181: 4178: 4176: 4173: 4171: 4168: 4167: 4165: 4161: 4155: 4152: 4150: 4147: 4145: 4142: 4140: 4137: 4135: 4132: 4130: 4127: 4125: 4122: 4120: 4117: 4115: 4112: 4110: 4107: 4105: 4102: 4100: 4097: 4095: 4092: 4090: 4087: 4085: 4082: 4080: 4077: 4076: 4074: 4070: 4064: 4061: 4059: 4056: 4054: 4051: 4049: 4046: 4044: 4041: 4039: 4036: 4034: 4031: 4029: 4026: 4024: 4021: 4020: 4018: 4014: 4008: 4005: 4003: 4000: 3998: 3995: 3993: 3990: 3988: 3985: 3984: 3982: 3978: 3972: 3969: 3967: 3964: 3962: 3959: 3957: 3954: 3952: 3949: 3947: 3944: 3942: 3939: 3938: 3936: 3932: 3929: 3927: 3923: 3913: 3910: 3908: 3905: 3903: 3900: 3898: 3895: 3893: 3890: 3888: 3885: 3883: 3880: 3878: 3875: 3873: 3870: 3868: 3865: 3863: 3860: 3858: 3855: 3853: 3850: 3848: 3845: 3843: 3840: 3838: 3835: 3833: 3830: 3828: 3827:Nikolai Gogol 3825: 3823: 3820: 3818: 3815: 3813: 3810: 3808: 3805: 3803: 3800: 3798: 3795: 3793: 3790: 3788: 3785: 3783: 3780: 3778: 3775: 3774: 3772: 3768: 3762: 3759: 3757: 3754: 3752: 3749: 3747: 3744: 3742: 3739: 3737: 3734: 3732: 3729: 3727: 3724: 3722: 3719: 3718: 3716: 3712: 3706: 3703: 3701: 3698: 3696: 3693: 3691: 3688: 3686: 3683: 3681: 3678: 3676: 3673: 3671: 3668: 3667: 3665: 3661: 3655: 3652: 3650: 3647: 3645: 3642: 3640: 3637: 3635: 3632: 3630: 3627: 3626: 3624: 3620: 3614: 3611: 3609: 3606: 3604: 3601: 3599: 3596: 3594: 3591: 3589: 3586: 3585: 3583: 3579: 3573: 3570: 3568: 3565: 3563: 3560: 3558: 3555: 3553: 3550: 3548: 3545: 3543: 3540: 3539: 3537: 3533: 3527: 3524: 3522: 3519: 3517: 3514: 3512: 3509: 3507: 3504: 3502: 3499: 3497: 3494: 3492: 3489: 3487: 3484: 3483: 3481: 3479: 3475: 3469: 3466: 3464: 3461: 3459: 3458:P. B. Shelley 3456: 3454: 3451: 3449: 3446: 3444: 3441: 3439: 3438:Mary Robinson 3436: 3434: 3431: 3429: 3426: 3424: 3421: 3419: 3416: 3414: 3411: 3409: 3406: 3404: 3401: 3399: 3396: 3394: 3391: 3389: 3386: 3384: 3381: 3379: 3376: 3374: 3371: 3369: 3366: 3364: 3361: 3359: 3356: 3355: 3353: 3351: 3345: 3339: 3336: 3334: 3331: 3329: 3326: 3324: 3321: 3319: 3316: 3314: 3311: 3309: 3306: 3304: 3301: 3299: 3296: 3294: 3291: 3289: 3286: 3284: 3281: 3279: 3276: 3274: 3271: 3269: 3266: 3264: 3261: 3259: 3256: 3254: 3251: 3249: 3246: 3244: 3241: 3239: 3236: 3234: 3231: 3230: 3228: 3224: 3218: 3215: 3213: 3210: 3208: 3205: 3203: 3200: 3198: 3195: 3193: 3190: 3188: 3185: 3183: 3180: 3178: 3175: 3173: 3170: 3168: 3167:Chateaubriand 3165: 3163: 3160: 3158: 3155: 3154: 3152: 3150: 3146: 3140: 3137: 3135: 3132: 3130: 3127: 3125: 3122: 3120: 3117: 3115: 3112: 3110: 3107: 3105: 3102: 3100: 3097: 3095: 3092: 3090: 3087: 3085: 3082: 3080: 3077: 3075: 3072: 3071: 3069: 3065: 3062: 3060: 3056: 3050: 3047: 3045: 3044: 3040: 3038: 3035: 3033: 3030: 3028: 3025: 3023: 3020: 3018: 3015: 3013: 3010: 3008: 3005: 3003: 3000: 2998: 2997: 2996:Mal du siècle 2993: 2991: 2988: 2984: 2981: 2979: 2976: 2975: 2974: 2971: 2969: 2966: 2964: 2963: 2959: 2957: 2954: 2952: 2949: 2948: 2946: 2942: 2936: 2933: 2931: 2928: 2926: 2923: 2921: 2918: 2916: 2915: 2911: 2909: 2906: 2902: 2901: 2897: 2896: 2895: 2892: 2890: 2887: 2885: 2882: 2880: 2877: 2875: 2872: 2870: 2867: 2865: 2862: 2860: 2857: 2855: 2852: 2850: 2847: 2845: 2842: 2840: 2837: 2835: 2832: 2830: 2827: 2825: 2822: 2820: 2817: 2816: 2814: 2810: 2804: 2801: 2799: 2796: 2794: 2791: 2789: 2786: 2784: 2781: 2779: 2776: 2774: 2771: 2769: 2766: 2764: 2761: 2758: 2756: 2753: 2751: 2748: 2747: 2745: 2741: 2737: 2730: 2725: 2723: 2718: 2716: 2711: 2710: 2707: 2697: 2696: 2685: 2679: 2677: 2673: 2671: 2668: 2667: 2665: 2661: 2655: 2652: 2650: 2647: 2646: 2644: 2640: 2634: 2631: 2629: 2626: 2625: 2623: 2619: 2613: 2612: 2608: 2607: 2605: 2601: 2595: 2594: 2590: 2588: 2587: 2583: 2581: 2580: 2576: 2575: 2573: 2569: 2563: 2560: 2558: 2557:Violin Sonata 2555: 2553: 2552:Piano Quintet 2550: 2549: 2547: 2545:Chamber music 2543: 2537: 2534: 2532: 2531: 2527: 2525: 2524: 2520: 2518: 2517: 2513: 2511: 2510: 2506: 2505: 2503: 2499: 2493: 2492: 2488: 2486: 2485: 2481: 2479: 2478: 2474: 2473: 2471: 2467: 2463: 2458: 2454: 2447: 2442: 2440: 2435: 2433: 2428: 2427: 2424: 2416: 2415: 2409: 2404: 2402: 2398: 2393: 2391: 2387: 2382: 2380: 2377: 2375: 2371: 2368: 2366: 2362: 2359: 2357: 2353: 2349: 2346: 2343: 2341: 2337: 2334: 2330: 2327: 2322: 2319: 2317: 2313: 2310: 2307: 2303: 2300: 2297: 2293: 2290: 2289: 2280: 2279:0-837-16873-2 2276: 2272: 2268: 2264: 2263:César Franck. 2260: 2257: 2254: 2250: 2246: 2242: 2239: 2236: 2232: 2228: 2225:——— (2002). 2224: 2221: 2220:0-945193-79-3 2217: 2213: 2209: 2206: 2202: 2199: 2195: 2191: 2187: 2185:0-8389-3461-7 2181: 2177: 2172: 2169: 2165: 2163: 2159: 2158:0-486-21317-X 2155: 2151: 2147: 2143: 2141:1-85828-113-X 2137: 2132: 2131: 2124: 2123: 2111: 2105: 2098: 2094: 2088: 2082:Stove, p. 257 2079: 2072: 2066: 2051: 2047: 2041: 2035:Stove, p. 300 2032: 2023: 2017:Stove, p. 296 2014: 2005: 1996: 1987: 1978: 1969: 1960: 1951: 1945:d'Indy, p. 54 1942: 1936:Stove, p. 262 1933: 1924: 1915: 1906: 1900:d'Indy, p. 52 1897: 1888: 1882:Stove, p. 260 1879: 1870: 1861: 1852: 1843: 1834: 1825: 1816: 1807: 1801:d'Indy, p.235 1798: 1791: 1785: 1776: 1769: 1763: 1757:Davies, p. 87 1754: 1745: 1738: 1732: 1724: 1720: 1716: 1712: 1708: 1704: 1700: 1696: 1692: 1685: 1683: 1673: 1664: 1648: 1644: 1640: 1633: 1626: 1620: 1611: 1602: 1593: 1584: 1578:d'Indy, p. 39 1575: 1569:Vallas, p. 85 1566: 1557: 1551:Davies, p. 72 1548: 1542:d'Indy, p. 41 1539: 1530: 1521: 1515:Davies, p. 62 1512: 1503: 1497:Davies, p. 63 1494: 1487: 1482: 1476:Vallas, p. 45 1473: 1467:Vallas, p. 37 1464: 1458:d'Indy, p. 34 1455: 1453: 1443: 1437:Vallas, p. 22 1434: 1428:Vallas, p. 15 1425: 1418: 1412: 1408: 1396: 1393: 1392:Maurice Ravel 1389: 1385: 1384:chamber music 1380: 1378: 1377:Trois Chorals 1374: 1370: 1366: 1362: 1361: 1356: 1352: 1351:improvisation 1347: 1345: 1344: 1339: 1338: 1333: 1329: 1325: 1321: 1320: 1315: 1307: 1302: 1293: 1290: 1286: 1281: 1278: 1274: 1270: 1266: 1260: 1257: 1253: 1249: 1245: 1241: 1237: 1233: 1226: 1224: 1199: 1180: 1161: 1142: 1136: 1120: 1118: 1114: 1108: 1098: 1096: 1092: 1091:Alfred Lenoir 1088: 1087:Auguste Rodin 1084: 1080: 1076: 1072: 1068: 1064: 1060: 1056: 1055:Gabriel Fauré 1052: 1051:Eugène Gigout 1048: 1044: 1036: 1035:Auguste Rodin 1032: 1027: 1023: 1021: 1017: 1012: 1010: 1006: 1002: 1001:Trois Chorals 997: 995: 991: 987: 977: 974: 969: 965: 964: 958: 956: 952: 947: 945: 944: 939: 935: 931: 926: 924: 920: 916: 910: 908: 904: 900: 896: 892: 891:Violin Sonata 887: 884: 880: 879: 874: 873: 868: 864: 863: 858: 857: 849: 848:Violin Sonata 845: 841: 837: 833: 831: 827: 823: 818: 814: 810: 806: 805: 800: 796: 795: 786: 781: 777: 775: 774: 769: 765: 761: 757: 753: 749: 744: 741: 732: 728: 719: 717: 713: 709: 705: 701: 700: 694: 689: 687: 683: 679: 675: 671: 667: 663: 662:Saint-Sulpice 659: 651: 646: 642: 640: 636: 635:Mendelssohn's 631: 627: 623: 619: 615: 610: 609:Pleyel et Cie 605: 601: 596: 592: 588: 584: 580: 572: 568: 564: 557: 552: 549: 545: 541: 537: 533: 529: 525: 521: 512: 508: 505: 501: 497: 493: 489: 488: 483: 477: 475: 471: 462: 458: 454: 452: 448: 443: 437: 434: 430: 426: 422: 421:Second Empire 418: 414: 408: 406: 402: 398: 394: 389: 388:Belgian court 382: 378: 369: 367: 366: 359: 357: 353: 344: 339: 335: 333: 329: 325: 320: 318: 314: 310: 309: 304: 300: 296: 292: 288: 284: 276: 271: 257: 255: 251: 247: 246:Albert Renaud 243: 239: 235: 231: 227: 223: 219: 215: 211: 207: 203: 194: 190: 188: 184: 180: 176: 172: 167: 165: 161: 157: 152: 144: 136: 133: 129: 123: 120: 118: 115: 114: 112: 110:Organizations 108: 101: 98: 95: 92: 91: 89: 85: 81:Paris, France 73: 69: 65: 61: 48: 44: 40: 34: 29: 22: 19: 5125: 5118: 5111: 5095: 4815:Porto-Alegre 4469:Philosophers 4439: 4353:Rachmaninoff 3802:Chavchavadze 3792:Baratashvili 3552:João de Deus 3521:Wincenty Pol 3313:Küchelbecker 3041: 3007:Noble savage 2994: 2960: 2935:Wallenrodism 2912: 2898: 2829:Coppet group 2763:(literature) 2688: 2675: 2609: 2591: 2584: 2577: 2571:Choral music 2528: 2521: 2514: 2507: 2489: 2482: 2475: 2453:César Franck 2452: 2412: 2370:César Franck 2361:César Franck 2345:César Franck 2308:(ChoralWiki) 2270: 2262: 2259:Vallas, Léon 2244: 2241:Stove, R. J. 2226: 2211: 2204: 2197: 2193: 2175: 2167: 2149: 2129: 2109: 2104: 2096: 2092: 2087: 2078: 2070: 2065: 2053:. Retrieved 2049: 2040: 2031: 2022: 2013: 2004: 1995: 1986: 1977: 1968: 1959: 1950: 1941: 1932: 1923: 1914: 1905: 1896: 1887: 1878: 1869: 1860: 1851: 1842: 1833: 1824: 1815: 1806: 1797: 1789: 1784: 1775: 1767: 1762: 1753: 1744: 1736: 1731: 1698: 1694: 1672: 1663: 1651:. Retrieved 1647:the original 1642: 1632: 1624: 1619: 1610: 1601: 1592: 1583: 1574: 1565: 1556: 1547: 1538: 1529: 1520: 1511: 1502: 1493: 1481: 1472: 1463: 1442: 1433: 1424: 1411: 1381: 1376: 1373:Marcel Dupré 1369:Louis Vierne 1358: 1348: 1341: 1335: 1330:(1886), the 1317: 1311: 1288: 1285:Louis Vierne 1282: 1276: 1272: 1268: 1261: 1229: 1220: 1110: 1094: 1079:Gaston Redon 1067:Édouard Lalo 1040: 1020:pericarditis 1013: 1008: 1000: 998: 983: 972: 961: 959: 955:English horn 948: 941: 929: 927: 922: 918: 911: 895:Eugène Ysaÿe 888: 882: 876: 870: 860: 854: 852: 844:Eugène Ysaÿe 834: 829: 825: 816: 812: 809:Trois Pièces 808: 807:(1876), the 802: 798: 792: 790: 773:Prix de Rome 771: 768:Père Franck, 767: 764:Louis Vierne 756:Henri Duparc 745: 736: 711: 697: 690: 655: 629: 625: 617: 603: 590: 586: 578: 576: 566: 555: 517: 491: 485: 478: 470:Paris revolt 466: 450: 447:César Franck 446: 438: 428: 409: 400: 385: 363: 360: 356:Prix de Rome 348: 324:Anton Reicha 321: 306: 280: 254:Louis Vierne 238:Henri Duparc 199: 182: 179:Anton Reicha 168: 142: 141: 76:(1890-11-08) 39:Pierre Petit 25:César Franck 18: 5192:1890 deaths 5187:1822 births 4805:Michałowski 4637:Wackenroder 4602:F. Schlegel 4597:A. Schlegel 4373:Tchaikovsky 4262:Bortkiewicz 4134:R. Schumann 4129:C. Schumann 4094:Kalkbrenner 4063:Saint-Saëns 3368:Anne Brontë 3253:Eichendorff 3238:B. v. Arnim 3233:A. v. Arnim 3043:Weltschmerz 3002:Medievalism 2951:Blue flower 2879:Nationalist 2824:Bohemianism 2736:Romanticism 2603:Organ works 2509:Les Éolides 2312:Free scores 2008:Ober, p. 83 1486:Léon Vallas 1417:Léon Vallas 1256:pivot chord 1252:modulations 1244:Franz Liszt 1160:II. Allegro 1113:cyclic form 1043:Léo Delibes 1005:R. J. Stove 859:(1882) and 804:Les Éolides 712:Ars Gallica 641:", op. 17. 548:Léon Vallas 532:pedal board 526:biographer 520:Adolf Hesse 305:, studying 295:Franz Liszt 87:Occupations 5181:Categories 4680:Chassériau 4655:Aivazovsky 4363:Rubinstein 4348:Mussorgsky 4297:Wieniawski 4282:Paderewski 4124:Moszkowski 3907:Vörösmarty 3897:Shevchenko 3751:Longfellow 3675:Batyushkov 3670:Baratynsky 3639:Espronceda 3506:Mickiewicz 3501:Malczewski 3468:Wordsworth 3453:M. Shelley 3408:de Quincey 3273:Günderrode 3157:Baudelaire 3037:Wanderlust 2874:Lake Poets 2621:Piano solo 2593:Psaume 150 2523:Les Djinns 1446:d'Indy, 31 1399:References 1223:media help 934:Greek myth 919:Rédemption 899:Théo Ysaÿe 862:Les Djinns 826:ideal evil 799:Rédemption 674:La Trinité 666:Notre-Dame 626:Six Pièces 504:the Office 463:, ca. 1855 222:pipe organ 220:works for 158:composer, 52:1822-12-10 5159:Biography 5120:Modernism 4780:Kiprensky 4740:Géricault 4725:Friedrich 4715:Delacroix 4690:Constable 4670:Bonington 4660:Bierstadt 4612:Senancour 4587:Schelling 4542:Lamennais 4537:Khomyakov 4502:Coleridge 4497:Chaadayev 4404:Stanković 4399:Mokranjac 4318:Balakirev 4277:Moniuszko 4226:Donizetti 4221:Cherubini 4119:Meyerbeer 4104:Marschner 4079:Beethoven 3992:Moscheles 3926:Musicians 3912:Wergeland 3877:Orbeliani 3832:Grundtvig 3736:Hawthorne 3705:Zhukovsky 3700:Vyazemsky 3685:Lermontov 3644:Gutiérrez 3603:Radičević 3567:Herculano 3491:Krasiński 3433:Radcliffe 3403:Coleridge 3378:E. Brontë 3373:C. Brontë 3303:Jean Paul 3298:Hölderlin 3187:Lamartine 3124:Magalhães 3114:Guimarães 3022:Pantheism 3012:Nostalgia 2864:Indianism 2812:Movements 2743:Countries 2642:Namesakes 2477:Stradella 2329:Biography 2055:16 August 1715:0027-4666 1653:16 August 1404:Citations 1289:titulaire 994:harmonium 815:(1879). 648:Organ of 630:Pastorale 614:harmonium 591:titulaire 556:Titulaire 536:Couperins 492:titulaire 482:Le Marais 451:C. Franck 449:or plain 431:, with a 405:Meyerbeer 317:Leopold I 260:Biography 210:symphonic 5132:Category 4948:Dahlhaus 4933:Blanning 4900:Scholars 4870:Tropinin 4865:Tidemand 4855:Stattler 4850:Scheffer 4750:Głowacki 4720:Edelfelt 4675:Bryullov 4617:Snellman 4592:Schiller 4582:Rousseau 4562:Michelet 4507:Constant 4477:Belinsky 4450:Sibelius 4394:Konjović 4368:Scriabin 4338:Lyapunov 4272:Lipiński 4241:Spontini 4231:Paganini 4175:Goldmark 3966:Thalberg 3961:Schubert 3941:Bruckner 3902:Topelius 3892:Runeberg 3882:Prešeren 3852:Leopardi 3817:Frashëri 3807:Eminescu 3787:Andersen 3695:Tyutchev 3680:Karamzin 3654:Zorrilla 3649:Saavedra 3547:Castilho 3535:Portugal 3526:Słowacki 3428:Polidori 3358:Barbauld 3293:Hoffmann 3248:Brentano 3162:Bertrand 2983:Romantic 2819:Ancients 2793:Scotland 2695:Category 2678:(ballet) 2491:Ghiselle 2365:AllMusic 2348:Archived 2335:Classics 2261:(1951). 2243:(2012). 2091:Vierne, 1790:Playing, 1768:Playing, 1737:Playing, 1627:p. 31-34 1259:traits. 1240:Romantic 1119:(1888). 1016:pleurisy 1009:Chorals' 963:Ghiselle 903:Yves Nat 500:the Mass 433:libretto 218:keyboard 164:organist 156:Romantic 96:Organist 93:Composer 5145:Portals 4973:Lovejoy 4908:Abraham 4830:Richard 4820:Préault 4745:Girodet 4627:Thoreau 4572:Novalis 4557:Mazzini 4552:Maistre 4527:Hazlitt 4512:Emerson 4492:Carlyle 4482:Berchet 4425:Berwald 4420:Bennett 4389:Hristić 4343:Medtner 4323:Borodin 4313:Arensky 4236:Rossini 4211:Bellini 4190:Joachim 4163:Hungary 4144:Strauss 4072:Germany 4038:Berlioz 4007:Voříšek 4002:Smetana 3980:Czechia 3934:Austria 3867:Maturin 3862:Manzoni 3837:Heliade 3812:Foscolo 3782:Alfieri 3777:Abovian 3731:Emerson 3690:Pushkin 3629:Bécquer 3562:Garrett 3516:Potocki 3463:Southey 3423:Maturin 3393:Carlyle 3350:Britain 3323:Novalis 3278:Gutzkow 3226:Germany 3192:Mérimée 3177:Gautier 3104:Barreto 3099:Azevedo 3079:Alencar 3059:Writers 2978:Byronic 2914:Purismo 2768:Germany 2750:Denmark 2401:YouTube 2390:YouTube 2314:at the 2304:in the 2298:(IMSLP) 2294:at the 2273:(1949) 2265:Trans. 2119:Sources 2110:Toward, 2108:Smith, 2099:, p. 24 2071:Toward, 2069:Smith, 1766:Smith, 1735:Smith, 1625:Toward, 1623:Smith, 1488:, p. 62 990:Nemours 883:Quintet 813:Quintet 652:, Paris 413:Orléans 308:solfège 291:Germany 214:chamber 160:pianist 99:Pianist 4998:Wellek 4978:de Man 4963:Janion 4953:Ferber 4928:Berlin 4923:Beiser 4918:Barzun 4913:Abrams 4890:Wiertz 4875:Turner 4825:Révoil 4810:Palmer 4800:Martin 4795:Leutze 4770:Janmot 4730:Fuseli 4685:Church 4577:Quinet 4567:Müller 4522:Goethe 4517:Fichte 4440:Franck 4382:Serbia 4333:Glinka 4306:Russia 4292:Tausig 4287:Stolpe 4267:Chopin 4255:Poland 4216:Busoni 4180:Heller 4149:Wagner 4084:Brahms 4058:Onslow 4048:Halévy 4016:France 3997:Reicha 3987:Dvořák 3956:Mahler 3951:Hummel 3946:Czerny 3842:Isaacs 3822:Geijer 3756:Lowell 3746:Irving 3726:Cooper 3721:Bryant 3663:Russia 3598:Njegoš 3593:Kostić 3588:Jakšić 3581:Serbia 3511:Norwid 3486:Fredro 3478:Poland 3448:Seward 3338:Uhland 3328:Schwab 3318:Mörike 3308:Kleist 3263:Goethe 3258:Fouqué 3207:Nodier 3202:Nerval 3197:Musset 3149:France 3139:Varela 3134:Taunay 3119:Macedo 3067:Brazil 3017:Ossian 2944:Themes 2783:Poland 2778:Norway 2760:France 2469:Operas 2277: 2251: 2233: 2218: 2182: 2156: 2138: 2097:Toward 1723:966717 1721: 1713: 1371:, and 1296:Legacy 1269:Prière 973:Psyché 930:Psyché 907:Vallas 762:, and 672:, and 524:Bach's 423:under 397:Weimar 216:, and 5084:Bacon 4993:Rosen 4988:Ricks 4983:Nancy 4943:Blume 4938:Bloom 4860:Stroy 4845:Saleh 4840:Runge 4790:Lampi 4775:Jones 4765:Hayez 4700:Corot 4665:Blake 4632:Tieck 4622:Staël 4547:Larra 4532:Hegel 4487:Burke 4445:Grieg 4435:Field 4430:Elgar 4413:Other 4246:Verdi 4204:Italy 4195:Liszt 4185:Hubay 4170:Erkel 4154:Weber 4139:Spohr 4099:Loewe 4089:Bruch 4053:Méhul 4043:Fauré 4033:Auber 4028:Alkan 3887:Raffi 3857:Mácha 3847:Lenau 3797:Botev 3770:Other 3622:Spain 3557:Dinis 3443:Scott 3418:Keats 3398:Clare 3388:Byron 3383:Burns 3363:Blake 3348:Great 3333:Tieck 3288:Heine 3283:Hauff 3217:Vigny 3212:Staël 3172:Dumas 3094:Assis 3089:Alves 3074:Abreu 3027:Rhine 2930:Ultra 2773:Japan 2484:Hulda 2356:Naxos 2333:Decca 2112:p. xv 1792:p. 30 1770:p. 29 1739:p. 27 1719:JSTOR 1265:fugal 1101:Music 878:Hulda 393:Liszt 283:Liège 275:Liège 226:piano 171:Liège 131:Works 60:Liège 4958:Frye 4885:Ward 4880:Veit 4835:Rude 4785:Koch 4760:Gude 4755:Goya 4705:Dahl 4695:Cole 4023:Adam 3971:Wolf 3714:U.S. 3613:Zmaj 3243:Beer 3182:Hugo 3129:Reis 3109:Dias 2973:Hero 2908:Post 2869:Jena 2839:Dark 2374:IMDb 2275:ISBN 2249:ISBN 2231:ISBN 2216:ISBN 2180:ISBN 2154:ISBN 2136:ISBN 2057:2017 1711:ISSN 1655:2017 1390:and 1355:Bach 1271:and 1246:and 921:and 604:curé 487:curé 401:Ruth 252:and 224:and 183:Ruth 71:Died 46:Born 4455:Sor 4328:Cui 3761:Poe 2894:Pre 2889:Neo 2399:on 2388:on 2372:at 2363:at 2354:at 2331:at 1703:doi 1699:131 1069:. 946:." 502:or 297:or 5183:: 5110:← 2411:. 2160:. 2048:. 1717:. 1709:. 1697:. 1693:. 1681:^ 1641:. 1451:^ 1367:, 1093:, 1061:, 1057:, 1053:, 1049:, 925:" 905:. 758:, 754:, 750:, 668:, 593:, 476:. 256:. 248:, 244:, 240:, 236:, 232:, 212:, 189:. 162:, 62:, 5147:: 5123:→ 2728:e 2721:t 2714:v 2445:e 2438:t 2431:v 2255:. 2237:. 2222:. 2188:. 2144:. 2059:. 1725:. 1705:: 1657:. 1308:. 1225:. 1037:. 145:( 54:) 50:(

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index