Cesar franck composer biography papers
•
César Franck
- LAST REVIEWED: 29 November 2018
- LAST MODIFIED: 29 November 2018
- DOI: 10.1093/obo/9780199757824-0086
- LAST REVIEWED: 29 November 2018
- LAST MODIFIED: 29 November 2018
- DOI: 10.1093/obo/9780199757824-0086
Bréville, Pierre de. “César Franck.” In Encyclopédie de la musique et dictionnaire du Conservatoire. Part 2, Vol. 1. Edited by Albert Lavignac and Lionel de la Laurencie, 176–182. Paris: Delagrave, 1925.
Franck receives an individual entry “in light of the importance of [his] role in the evolution of modern music” (p. 176n). Biography, his style of improvisation, cyclic process in the String Quartet, teaching, and the hostility directed against Franck in his lifetime. Bréville studied with Franck from 1881 to 1887.
Dahlhaus, Carl. Nineteenth-Century Music. Translated by J. Bradford Robinson. Berkeley: University of California Press, 1989.
English translation of Die Musik des 19. Jahrhunderts (Wiesbaden, West Germany: Akademische Verlagsgesellschaft Athenaion, 1980). Discusses Franck’s symphony as part of the “Second Age of the Symphony” (pp. 274–276) and the String Quartet in the context of “Ars gallica” (pp. 292–293). Franck attempts to achieve “monumentality” but fails, because he unsuccessfully injects a classical formal scheme with Wagnerian harmonies instead of pursuing the thematic i
•
Franck, César, S1: Life 177
Copyright:
Available Formats
•
This paper analyses the original use of octatonic, its reception among the Slavic composers, as well as its different evolution in the musical language of the western composers from the second half of the 19th and the 20th centuries. The... more
This paper analyses the original use of octatonic, its reception among the Slavic composers, as well as its different evolution in the musical language of the western composers from the second half of the 19th and the 20th centuries. The octatonic scale has a number of designations in European terminology: The diminished scale, the Korsakovian scale, the Istrian scale, the Pijper scale, Messiaen’s second mode, etc. While it highly likely originates from different Slavic folklorist traditions, it is particularly interesting that it independently existed in Western countries as well, most notably in France.
In order to answer these questions, different approaches are used. Some of compositions that are examined, include works of 19th and 20th century Russian and French composers. Some considerations that shall be taken into account are contributions given by Richard Taruskin, Dmitri Tymoczko, Pieter C. Van Der Toorn, etc. Some further ideas that this paper is looking after were also given by one of the most important French composers of