{"id":3637,"date":"2025-10-26T10:08:02","date_gmt":"2025-10-26T10:08:02","guid":{"rendered":"http:\/\/meumon.synology.me\/museu\/?p=3637"},"modified":"2025-11-04T12:17:48","modified_gmt":"2025-11-04T12:17:48","slug":"cesar-franck-1822-1890","status":"publish","type":"post","link":"http:\/\/meumon.synology.me\/museu\/cesar-franck-1822-1890\/","title":{"rendered":"C\u00e9sar Franck. 1822-1890"},"content":{"rendered":"<p><strong>1822-1842 Infant prodigi i estudis a Paris<\/strong><\/p>\n<p>Neix a Li\u00e8ge el 10 de desembre de 1822. El seu pare era un empleat de banca. Un cop es van manifestar les seves dots musicals, esperant convertir-lo en un nen prodigi, el va fer estudiar intensament piano, harmonia i composici\u00f3. Despr\u00e9s d\u2019uns anys d\u2019\u00e8xit com a jove virtu\u00f3s, la fam\u00edlia es trasllad\u00e0 a Par\u00eds, on Franck ingress\u00e0 al Conservatori de Par\u00eds. All\u00e0 estudi\u00e0 amb mestres destacats com Anton Reicha i demostr\u00e0 una gran habilitat com a pianista i compositor.<\/p>\n<p>[no incloc oratoris i peces vocals que semblen tenir menys inter\u00e8s, ni tampoc les obres que no he trobat]<\/p>\n<ul>\n<li>Op. 08 &#8211; Variations brillantes sur la ronde favorite de Gustave III (par Auber) (piano and orchestra, 1835), CFF 133<\/li>\n<li>Op. 011 &#8211; Deuxi\u00e8me grand Concerto (piano and orchestra, 1836), CFF 135<\/li>\n<li>Op. 012 &#8211; Premi\u00e8re grande Fantaisie (piano, 1836)<\/li>\n<li>Op. 014 &#8211; Deuxi\u00e8me grande Fantaisie (piano, 1836), CFF 4)<\/li>\n<li>Op. 015 &#8211; Deux m\u00e9lodies (piano, c. 1837), CFF 5<\/li>\n<li>Op. 019 &#8211; Troisi\u00e8me grande Fantaisie (piano, c. 1837), CFF 7<\/li>\n<\/ul>\n<p><strong>1842-1858 Professor i organista<\/strong><\/p>\n<p>L&#8217;oratori Ruth fracassa, en part per una mala interpretaci\u00f3.\u00a0Primers trios, s\u00f3n valorats per Liszt.<\/p>\n<p>El 1846 trenca les relacions amb el seu pare, que tant li estava a sobre. S&#8217;havia enamorat d&#8217;una deixeble seva Eug\u00e9nie-F\u00e9licit\u00e9-Caroline Saillot, els pares de la qual eren membres de la Com\u00e9die Fran\u00e7aise. El seu pare li va trobar una pe\u00e7a que li havia dedicta i la va estripar. C\u00e9sar va anar a casa els Desmousseaux va reescriure la pe\u00e7a de mem\u00f2ria, i li va dedicar. Acabar\u00e0 deixant la casa dels pares i anant a viure a casa els Desmousseaux. El 1848 s&#8217;acabar\u00e0 casant amb la seva promesa, havent de saltar les barricades revolucion\u00e0ries per arribar a l&#8217;esgl\u00e9sia de Notre dame de Lorette. Trobar\u00e0 una feina d&#8217;organista que li garantir\u00e0 uns ingressos i li permetr\u00e0 expressar la seva fe cat\u00f2lica.<br \/>\nLa seva destresa en la improvisaci\u00f3 ser\u00e0 molt valorada i viatjar\u00e0 per Fran\u00e7a provant i demostrant les possibilitats dels orgues Cavaill\u00e9-Coll.<\/p>\n<p>Simf\u00f2nic<\/p>\n<ul>\n<li>1845 Ce qu\u2019on entend sur la montagne, sym. poem<\/li>\n<\/ul>\n<p>Orgue<\/p>\n<ul>\n<li>Pi\u00e8ce, E, 1846 (1973)<\/li>\n<\/ul>\n<p>Piano<\/p>\n<ul>\n<li>Eglogue (Hirtengedicht), 1842<\/li>\n<li>Ballade, 1844<\/li>\n<li>1re grande fantaisie: sur des motifs de Gulistan de Dalayrac, 1844<\/li>\n<li>2e fantaisie: sur l\u2019air et le virelay \u2018Le pont du jour\u2019 de Gulistan de Dalayrac, 1844<\/li>\n<li>?Grande Fantasie Op.19 (1845)<\/li>\n<li>Fantaisie sur deux airs polonais, 1845 (c1845)<\/li>\n<li>Trois petits riens: Duettino, Valse, Le songe, 1846<\/li>\n<\/ul>\n<p><strong>1859-1890 Titular a Ste.Clotilde<\/strong><\/p>\n<p>Cap al 1858, es va convertir en organista titular de l\u2019esgl\u00e9sia de Sainte-Clotilde a Par\u00eds, on desenvolup\u00e0 una gran part de la seva carrera i reputaci\u00f3.\u00a0Com a organista, \u00e9s admirat per la seva improvisaci\u00f3 i profunditat espiritual. Va escriure obres per a orgue d\u2019una gran for\u00e7a expressiva i estructura simf\u00f2nica.<br \/>\nTamb\u00e9 fou professor al Conservatori de Par\u00eds a partir de 1872, on influ\u00ed tota una generaci\u00f3 de m\u00fasics francesos (com Vincent d\u2019Indy, Ernest Chausson o Paul Dukas). Alhora, a vegades consultava els seus deixebles sobre com acabar de definir una pe\u00e7a. Saint-Saens s&#8217;hi enemistar\u00e0.<\/p>\n<p>Orquestra<\/p>\n<ul>\n<li>1875 Les Eolides, poema simf\u00f2nic<\/li>\n<li>1884 Le chasseur maudit, poema simf\u00f2nic<\/li>\n<li>1884 Les Djinns, poema simf\u00f2nic per a orquestra i piano<\/li>\n<li>1885 Variacions simf\u00f2niques per a orquestra i piano<\/li>\n<li>1886 Simfonia en Re<\/li>\n<li>1887 Psych\u00e9, poema simf\u00f2nic per a orquestra i cor<\/li>\n<\/ul>\n<p>Vocal<\/p>\n<ul>\n<li>1871 Redemption<\/li>\n<li>1869-1879 Les B\u00e9atitudes<\/li>\n<\/ul>\n<p>Cambra<\/p>\n<ul>\n<li>1879 Quintette F per piano, dos violins, viola, violoncel<\/li>\n<li>1886 Sonata, A, per piano i viol\u00ed, que tindr\u00e0 for\u00e7a \u00e8xit.<\/li>\n<li>1889 Quatuor, D, 2 vn, va, vc,<\/li>\n<li>M\u00e9lancolie, vn, pf publicat p\u00f2stumament<\/li>\n<\/ul>\n<p>Orgue<\/p>\n<ul>\n<li>L\u2019organiste, vol.ii, org\/hmn, 1858\u201363 (1905); 30 pieces<\/li>\n<li>Cinq pi\u00e8ces, hmn, c1858 (?1865); 2 offs, 2 vcles, 1 communion<\/li>\n<li>Trois antiennes, org, 1859 (1859)<\/li>\n<li>Six pi\u00e8ces, org, 1856\u201364 (1868): Fantaisie, C Op16; Grande pi\u00e8ce symphonique, f Op.17; Pr\u00e9lude, fugue et variation, b, also transcr. 2 pf\/pf, hmn, 1873 (?c1873)op.18; Pastorale Op.19, E; Pri\u00e8re Op.20, c; Final Op.21, B<br \/>\nQuasi marcia, hmn, c1862 (1868)<\/li>\n<li>Trois pi\u00e8ces, org, 1878 (1883): Fantaisie, A; Cantabile, B; Pi\u00e8ce h\u00e9ro\u00efque, b<\/li>\n<li>Trois chorals, E, b, a, org, 1890 (1892) Bonfils and G. Litaize, as Suite (M42), harmonium (1956)<\/li>\n<li>Pi\u00e8ces posthumes (1905)<\/li>\n<\/ul>\n<p>Piano<\/p>\n<ul>\n<li>Les plaintes d\u2019une poup\u00e9e, 1865 (1904)<\/li>\n<li>Pr\u00e9lude, choral et fugue, 1884 (1885); Soci\u00e9t\u00e9 Nationale, 24 Jan 1885<\/li>\n<li>Danse lente, 1885 (1888)<\/li>\n<li>Pr\u00e9lude, aria et final, 1887 (1888); Soci\u00e9t\u00e9 Nationale, 12 May 1888<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/a\/a9\/Cesar_Franck_At_Organ.jpg\" \/><\/p>\n<hr \/>\n<p>&nbsp;<\/p>\n<p>The basis of Franck\u2019s thematic material is the symphonic phrase, a paradoxical compound of rhetorical and passive elements which is paralleled linguistically by Jean-Aubry\u2019s (1916) description \u2018serene anxiety\u2019. Often Franck developed complex phrase structures using a kind of mosaic of variants of one or two germinal motifs, a technique which again underlines his indebtedness to Liszt; two late piano works, the Pr\u00e9lude, choral et fugue and the Pr\u00e9lude, aria et final illustrate this procedure in its most developed and refined state.<\/p>\n<p>An outstanding feature of Franck\u2019s harmonic language is his use of the \u2018chord pair\u2019 (as in bars 1 and 2 of Les Eolides) where the second chord carries with it the impression of a sforzando. A classical formulation of this device appears in the ninth bar of the first movement of the Violin Sonata, but it also occurs in much earlier pieces, as in the first symphonic interlude from R\u00e9demption (quoted above). It is often associated with Franck\u2019s characteristic iambic rhythm in the attendant melody (see ex.5), as in the Violin Sonata. He often applied his method of thematic development to a harmonic context; a chord pair, for instance, may be repeated with a slight alteration to the second chord, resulting in a stronger implied sforzando (Violin Sonata, third movement, bars 17\u201318). The technique may also be applied to whole phrases, with more than one element being subjected to variation: again, the Six pi\u00e8ces furnish a prototype (Fantaisie, bars 9\u201312). Franck was particularly fond of incorporating these motifs into a bar-form (AAB) phrase structure; a good example is the second subject of the first movement of the Quintet. Much of the slow movement of this work is organized on the same principle; thus, bars 1\u20134 may be analysed as Stollen (bar 1), Stollen (bar 2; chord on third beat varied) and Abgesang (bars 3 and 4; cadential figure derived from the preceding two bars). Franck\u2019s early explorations in the juxtaposition of chords had repercussions in the music of a later generation, notably that of Debussy, for whom the concept of contrasting harmonic colours was fundamental: his Les sons et les parfums (1910) begins with the varied repetition of a chord pair.<\/p>\n<p>Franck\u2019s formal procedures ranged from the simplistic dovetailing of ternary and sonata forms in the first movement of the Quartet to the complex synthesis of the Variations symphoniques. The architectural principle with which his name is linked, cyclic form, sprang originally from two distinct sources: Beethoven\u2019s dramatic recall of previously heard themes, and the monothematic procedure whereby a number of movements employ variants or \u2018transformations\u2019 of the same material, as in Schubert\u2019s Wanderer Fantasy and E major Quartet op.125. Both these models have been suggested as the inspiration behind Franck\u2019s remarkable Trio in F minor, but a more likely blueprint is to be found in the early piano sonatas of Mendelssohn and the Scherzo of his early Piano Quartet in B minor, which is distinctly echoed in the corresponding movement of Franck\u2019s Trio.<\/p>\n<p>[fluix en les obres vocals]<br \/>\nFranck\u2019s finest compositional achievement is represented by the symphonic, chamber and keyboard works, one of the most distinguished contributions to the field by any French musician \u2013 especially the last three chamber works, in which Franck found a balance between his inherent emotionalism and his preoccupation with counterpoint and Classical forms.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>1822-1842 Infant prodigi i estudis a Paris Neix a Li\u00e8ge el 10 de desembre de 1822. El seu pare era un empleat de banca. Un cop es van manifestar les seves dots musicals, esperant convertir-lo en un nen prodigi, el va fer estudiar intensament piano, harmonia i composici\u00f3. Despr\u00e9s d\u2019uns anys d\u2019\u00e8xit com a jove &hellip; <\/p>\n<p class=\"link-more\"><a href=\"http:\/\/meumon.synology.me\/museu\/cesar-franck-1822-1890\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;C\u00e9sar Franck. 1822-1890&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[165],"tags":[136],"anotacio":[],"civilitzacio":[],"spec":[],"aspecies":[],"Tema poesia":[],"_links":{"self":[{"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/posts\/3637"}],"collection":[{"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/comments?post=3637"}],"version-history":[{"count":0,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/posts\/3637\/revisions"}],"wp:attachment":[{"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/media?parent=3637"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/categories?post=3637"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/tags?post=3637"},{"taxonomy":"anotacio","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/anotacio?post=3637"},{"taxonomy":"civilitzacio","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/civilitzacio?post=3637"},{"taxonomy":"spec","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/spec?post=3637"},{"taxonomy":"aspecies","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/aspecies?post=3637"},{"taxonomy":"Tema poesia","embeddable":true,"href":"http:\/\/meumon.synology.me\/museu\/wp-json\/wp\/v2\/Tema poesia?post=3637"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}