Franck was a widely respected organist (performing at Paris’ Basilica of Saint Clotilde) and teacher at the Paris Conservatoire. He came to prominence as a composer only in his later years. He was estranged from his overbearing and vindictive father. His wife despised most of his music, considering it too “emotional” and “sensuous.” As a composition teacher, Franck’s approach grew out of his organ improvisation and was free of theoretical dogma.
Symphony in D Minor, which was completed just two years before his death is deemed as Franck’s pinnacle achievement as a composer. Along with Saint-Saëns’ “Organ” Symphony, written around the same time in 1886, the D Minor Symphony may be the most significant nineteenth century French symphony- the continuation of a symphonic tradition largely neglected in French music since Berlioz’ 1830 Symphonie Fantastique.
The opening of first movement (Lento – Allegro, ma non tango) draws us, immediately, into an atmosphere of darkness and haunting mystery. A questioning motive emerges in the low strings.
The second movement (Allegretto) combines the traditional slow movement and scherzo. The nostalgic, pastoral lament of the English horn, the oboe’s lower sister, emerges over glistening harp and string pizzicati. This is joined by the hushed, ghostly strands of string tremolo.
The second movement (Allegretto) combines the traditional slow movement and scherzo. The nostalgic, pastoral lament of the English horn, the oboe’s lower sister, emerges over glistening harp and string pizzicati. This is joined by the hushed, ghostly strands of string tremolo.
With the opening bars of the third and final movement (Allegro ma non troppo), we’re swept away by a tidal wave of joyful euphoria. An infectious melody filled with innocent exuberance pulls us forward into a series of musical adventures. Playful canons bring to mind another perfect, flowing Franck melody: the final movement of the Violin Sonata, written as a wedding gift for the Belgian violinist, Eugène Ysaÿe.
Beyond all of this, the final movement plays an important role in weaving the entire symphony together. Gradually, the themes of the preceding movements re-emerge in a way which builds on Liszt’s thematic transformation, the heroic journey of Schumann’s Second Symphony, and the innovations of Beethoven’s Fifth and Ninth Symphonies. Franck imagined these previous themes moving into new, transcendent territory.
To hear this significant work of art, book your tickets today from Pacofs 051 447 7772.
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