Chapter 39

CHAPTER XVII

CÉSAR FRANCK

Before an appreciation of the significant works and influence of
César Franck can be gained, it is necessary to have a broad
historical perspective of what had been the trend and the lim-
itations of French music prior to his career. Since the time of
Couperin and Rameau, musical composition in France had been
devoted almost exclusively to opera—with its two types of grand
opera and opéra-comique—and in this field there had been some
French musicians of real, though possibly rather slight, genius:
Philidor, Méhul, Grétry, Boieldieu, Hérold and Auber. One
searches in vain through French literature for great symphonies,
string-quartets, violin sonatas or pianoforte compositions of sig-
nificance. Berlioz, as we have seen, had composed a number
of orchestral works; but, from the standpoint of absolute mu-
sic, even these rather beg the question as they are so extremely
programmistic, dramatic or even theatric. This one-sided de-
velopment of French music was chiefly caused by the people’s
innate fondness for the drama, and by the national genius for
acting, mimicry and dancing.

Prior to the advent of Franck there were two important pio-
neers in the broadening tendency which finally became notice-
able, Saint-Saëns and Lalo. For great assimilative power, for
versatility, for clarity of expression and a finish and finesse pecu-
liarly French, Camille Saint-Saëns (1835-still living) is certainly