At a time when much of the musical world was preoccupied with the music of Wagner, César Franck composed his Prélude, choral et fugue—a clear embracing of an archaic, and frankly dead, form written in the headwind of the musical trends of the latter part of the 19th century. Franck himself was an organist of great skill, and though his harmonic language certainly shows the influence of Wagner, was an admirer of Bach, to whom the work’s title obviously alludes. Yet, the deeply moving and profound work was not ushered out of a random moment of inspiration but brought about by the marvelous performances of a young rising pianist. Marie Poitevin was taking the Parisian music scene by storm, winning first prize at the prestigious Paris Conservatoire, and stunning audiences and critics alike with her flawless technique and “all too rare artistic conscience.” And, not only did she champion the compositions of Franck and Chabrier, she effortlessly performed the works of Bach, which still were not yet a staple of the piano repertoire. Franck, inspired by these latter performances, was struck by the muse to compose his Prélude, choral et fuge which appeared in 1884, dedicated to and premiered by Poitevin, and published that same year by Enoch.
To the archaic prelude and fugue, Franck added his signature cyclical form by recalling aspects of the prelude within the fugue, and thus making the work a child of two different centuries. Originally, the piece existed without the intervening chorale, placing the agitated prelude directly alongside the melodramatic and grandiose fugue. While in this orientation the piece certainly could have work, it cannot be denied that Franck’s judgment was correct in determining the necessity of an intervening movement, separating the two highly dramatic movements already in place. Thus came into existence the elaborate chorale. Adding a sense of placidity and solemnity, it forms an effective transition from the closing measures of the prelude to the fugue’s ominous introduction reminiscent of Beethoven.However, all darkened emotions are dispersed in the fugue’s joyous and triumphant conclusion.Joseph DuBose
Classical Music | Piano Music
César Franck
Prélude, Choral et Fugue Play
Recorded on 03/21/2009, uploaded on 03/21/2009
Musician's or Publisher's Notes
At a time when much of the musical world was preoccupied with the music of Wagner, César Franck composed his Prélude, choral et fugue—a clear embracing of an archaic, and frankly dead, form written in the headwind of the musical trends of the latter part of the 19th century. Franck himself was an organist of great skill, and though his harmonic language certainly shows the influence of Wagner, was an admirer of Bach, to whom the work’s title obviously alludes. Yet, the deeply moving and profound work was not ushered out of a random moment of inspiration but brought about by the marvelous performances of a young rising pianist. Marie Poitevin was taking the Parisian music scene by storm, winning first prize at the prestigious Paris Conservatoire, and stunning audiences and critics alike with her flawless technique and “all too rare artistic conscience.” And, not only did she champion the compositions of Franck and Chabrier, she effortlessly performed the works of Bach, which still were not yet a staple of the piano repertoire. Franck, inspired by these latter performances, was struck by the muse to compose his Prélude, choral et fuge which appeared in 1884, dedicated to and premiered by Poitevin, and published that same year by Enoch.
To the archaic prelude and fugue, Franck added his signature cyclical form by recalling aspects of the prelude within the fugue, and thus making the work a child of two different centuries. Originally, the piece existed without the intervening chorale, placing the agitated prelude directly alongside the melodramatic and grandiose fugue. While in this orientation the piece certainly could have work, it cannot be denied that Franck’s judgment was correct in determining the necessity of an intervening movement, separating the two highly dramatic movements already in place. Thus came into existence the elaborate chorale. Adding a sense of placidity and solemnity, it forms an effective transition from the closing measures of the prelude to the fugue’s ominous introduction reminiscent of Beethoven. However, all darkened emotions are dispersed in the fugue’s joyous and triumphant conclusion. Joseph DuBose
More music by César Franck
Prelude, Figue and Variation for organ, Op. 18
Alegretto Moderato, from Sonata for Violin and Piano in A Major, M. 8
Sonata for Violin and Piano in A Major, M. 8
Sonata for Violin and Piano in A Major (transcribed for cello)
Sonata for Violin and Piano in A Major, M. 8
Prelude, Fugue et Variation, op. 18
Prelude, Chorale and Fugue
Violin Sonata in A Major, Allegro
Sonata for Violin and Piano in A Major, M. 8
Sonata for Violin and Piano in A Major, M. 8
Performances by same musician(s)
Etude Op. 25, No. 12 in c minor
Conquering
Concert Etude in f minor
Classical Music for the Internet Era™