for January 17, 1919.]
César Franck (1822-1890) was a composer of such innate spir-
ituality that to analyze and classify him in a formal manner
seems well-nigh irreverent. His music once heard is never for-
gotten, and when thoroughly known is loved for all time. Nor is
an elaborate biographical account necessary; for Franck, more
than any other modern composer, has been fortunate in that
his life and works have been sympathetically presented to the
world by a distinguished contemporary, his most famous pupil
d’Indy—himself a gifted composer and a man of rare literary
powers. His biography of César Franck (in French and in En-
glish) should certainly be read by all who would keep abreast
of modern tendencies. Franck’s message, however, is so remark-
able and his style so individual, that a few definite comments
may be made concerning the structural features of his work
and the essential attributes, thereby expressed, of his inspiring
personality. Franck was a Belgian born at Liège—one of that
long line of musicians who, though born elsewhere, have be-
come thoroughly identified with French thought and standards;
and there is much in his music which finds a parallel in the
literary qualities of another Belgian artist, Maeterlinck, for in
both is that same haunting indefiniteness, that same symbolic
aspiration. Nothing in Franck is rigid, square-toed; his music
is suggestive of a mystic idealism, the full expression of which,
from its very nature is unattainable. Franck’s outward life was
simple, without excitement or diversion of any kind. When he
was not giving lessons or composing, he was active in the service
of the Roman Catholic Church, in which he was a devout be-
liever. For a number of years he was organist at Sainte Clotilde,
and his style thereby was influenced strongly. A distinct note of
religious exaltation runs through much of his music; for Franck
was a fine character, of spotless purity of life and of such gen-
erosity and elevation of soul that his pupils looked upon him
as a real father and always called him “Pater Seraphicus.” He
was universally acknowledged to be the greatest improviser on
the organ since Bach himself. Even Liszt, who heard him in
1866, left the church, lost in amazement; evoking the name of
the great Sebastian as the only possible comparison.
Franck’s services to the development of music are twofold: 1st,
as an inspired composer of varied works, which are more and
more becoming understood and loved; 2d, as a truly great teacher,