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among César-Auguste's papers, he tore it up in the latter's presence. César-Auguste went directly to the
Desmousseauxs', wrote out the piece from memory, and presented it to Félicité with a dedicatory line. Relations worsened with his father, who forbade any thought of betrothal and marriage (French law required parental consent to marriage for a son younger than 25), accused César-Auguste of distressing his mother and shouted at him about a then notorious husband-wife poisoning case as being the most likely outcome of any match by his son. His mother's role in the dispute is unclear: she was either mildly supportive of her son or stayed out of the conflict. On one Sunday in July, César-Auguste walked out of his parents' house for the last time with nothing except what he could carry, and moved to the Desmousseauxs', where he was welcomed. From that time on, Franck termed himself and signed his papers and works as
1022:. After that, his condition rapidly worsened and he died on 8 November. A pathologist writing in 1970 observed that, while Franck's death has traditionally been linked to his street injury, and there may have been a connection, the respiratory infection by itself could have led to a terminal illness. Given the lack of antibiotics, this "could not be considered an unusual pattern for pneumonia in a man in his seventh decade." But this verdict has been subsequently queried: "no doubt about the 'proximate cause' was ever voiced by the two persons most likely to know, namely, Franck and his wife; nor was such a doubt ever voiced by those outside Franck's immediate household who dealt with him between July and early November 1890. ... Franck's punishing workload, 'burning the candle at both ends' over decades, could well in itself have impaired the bodily resilience he needed to fight off even a minor injury."
680:) as consultant. At his own church, people began to come to hear the improvisations for the Mass and the Office. In addition, Franck began to give "organ-concerts" or recitals at Sainte-Clotilde of his own works and those of other composers. Perhaps his most notable concert arose from the attendance at a Sunday Mass in April 1866 of Franz Liszt, who sat in the choir to listen to Franck's improvisations and afterward said "How could I ever forget the man who wrote those trios?" To which Franck is supposed to have murmured a little sadly, "I fancy I have done rather better things since then.". Liszt organized a concert at Sainte-Clotilde to promote Franck's organ works later that month, which was well received by its listeners and well reported in the musical journals. Despite his comment about the trios, Franck was pleased to hear that not only Liszt but
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that the nomination exposed the embarrassing fact that Franck was not a French citizen, a requirement for the appointment. It turned out that Franck did not know that when his father, Nicolas-Joseph, became a naturalized French citizen to enter his sons into the
Conservatoire as students, they were counted as citizens only until age twenty-one, when they were obliged to declare their allegiance to France as adults. Franck had always regarded himself as French from the time of his father's naturalization. In fact, he had unknowingly reverted to his birth nationality of Belgian upon becoming a legal adult. Franck went through the naturalization process at once; his original appointment on 1 February 1872 was regularized in 1873.
770:"Father Franck". On the other hand, Franck experienced some tensions in his faculty life: he tended to teach composition as much as he did organ performance and improvisation; he was considered unsystematic in his teaching techniques ("Franck never taught by means of hard and fast rules or dry, ready-made theories"), with an offhand attitude towards the official texts and books approved by the Conservatoire; and his popularity among some students provoked some jealousy among his fellow professors and some counter-claims of bias on the part of those professors when judging Franck's pupils for the various prizes, including the
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surprising influence over their teacher as much as he over them. Vincent d'Indy is quoted as saying "When was hesitating over the choice of this or that tonal relation or over the progress of any development, he always liked to consult his pupils, to share with them his doubts and to ask their opinions." In turn, one of Franck's students recounts that Mme Franck remarked (with some truth) that "It is you pupils who have aroused all the hostility shown against him." In addition, there were some discords within the Société Nationale, where Saint-Saëns had put himself increasingly at odds with Franck and his pupils.
917:. His supporters were indignant: d'Indy writes that "it would be wrong to suppose that this honor was bestowed upon the musician, the creator of the fine works which do honor to French art. Not in the least!". Instead the citation was simply as "professor of organ" having completed more than ten years in that post. Vallas goes on to state: "Public opinion made no similar mistake on this score" and quotes a journal usually opposed to Franck as saying that the award was "above all things an act of homage paid justly if a little tardily to the distinguished composer of
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father . . . ." Concerts performed by young Franck (some with his brother on the violin, some including Franck's own compositions) were at first received well, but increasingly
Nicolas-Joseph's commercial promotion of his sons antagonized the Parisian musical journals and critics. César-Auguste's technical abilities as a pianist were acknowledged; his abilities as a composer were (probably justly at this point) felt to be wanting. The whole situation was aggravated by what in the end became a feud between Nicolas-Joseph and Henri Blanchard, the principal critic of the
940:). Franck's wife and son found the work too sensual, and wanted Franck to concentrate on music wider and more popular in appeal "and altogether more commercial". D'Indy, on the other hand, speaks of its mystical significance, saying that it has "nothing of the pagan spirit about it, . . . but, on the contrary, is imbued with Christian grace and feeling . . . ." D'Indy's interpretation was subsequently described as revealing "some embarrassment, such as a newly timid Sunday-school teacher would feel if abruptly called on to acquaint riotous adolescents with
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957:) "outraged the formalist rules and habits of the stricter professionals and amateurs." Franck himself, on being asked whether the symphony had any basis in a poetic idea, told Louis de Serres, a pupil, that "no, it is just music, nothing but pure music." According to Vallas, much of its style and technique can be attributed directly to the centrality of the organ in Franck's thinking and artistic life, and Franck profited from the experience. "He confided in his pupils that from thence on he would never write like that again."
710:, had caused many of his pupils to disappear, either because they left Paris or were killed or disabled in the fighting. Again he wrote some patriotic pieces which, in the harshness of the times, were not then performed. He and his family experienced economic hardships as his income dropped and food and fuel became scarce. The Conservatoire was closed for the academic year 1870–1871. But a change was coming in how French musicians regarded their own music; particularly after the war they were looking for an
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in the same manner that he had as pianist, he had wanted an organist's position, not least because it provided a steady income. He now had occasion to match his Roman
Catholic devotion with learning the skills needed for accompanying public worship, as well as the occasional opportunity to fill in for his superior, Alphonse Gilbat. In this position he won the favorable attention of the church's Abbé Dancel, who in 1851 moved to the new church of Saint-Jean-Saint-François-au-Marais (a small church in
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1340:(1883). The Symphony was especially admired and influential among the younger generation of French composers and was highly responsible for reinvigorating the French symphonic tradition after years of decline. This was also his first and only Symphony to be composed and performed, taking him a total of 3 years, and being first performed at the Paris Conservatoire in February of 1889. One of his best known shorter works is the motet setting
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1115:", a method aspiring to achieve unity across multiple movements. This may be achieved by reminiscence, or recall, of an earlier thematic material into a later movement, or as in Franck's output where all of the principal themes of the work are generated from a germinal motif. The main melodic subjects, thus interrelated, are then recapitulated in the final movement. Franck's use of "cyclic form" is best illustrated by his
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334:. When Reicha died some ten months later, Nicolas-Joseph sought to enter both boys into the Conservatoire. However, the Conservatoire would not accept foreigners; Nicolas-Joseph was obliged to seek French citizenship, which was granted in 1837. In the interval, Nicolas-Joseph promoted concerts and recitals in Paris featuring one or both boys playing popular music of the period, to mostly good reviews.
988:, injuring his head and causing a short fainting spell. There seemed to be no immediate after-effects; he completed his trip and he himself considered it of no importance. However, walking became painful and he found himself increasingly obliged to absent himself first from concerts and rehearsals, and then to give up his lessons at the Conservatoire. He took his vacation as soon as he could in
546:, and was not only a virtuoso performer of Bach but a developer of organ teaching methods with which all organists could learn to play with precision, clarity, and legato phrasing. Franck appeared on the same inaugural concert program as Lemmens in 1854, much admiring not only the classic interpretation of Bach but also the rapidity and evenness of Lemmens's pedal work.
368:, who lost no opportunity to castigate the aggressive pretensions of the father and to mock the "imperial" names of the elder son. This animosity, "undoubtedly personal", may well have caused Nicolas-Joseph to decide that a return to Belgium was in order, and in 1842 "a peremptory order" to young Franck compelled the latter to leave the Conservatoire and accompany him.
472:. To get to the church, the party had to climb over the barricades set up by the revolutionaries – with, d'Indy says, "the willing help of the insurgents who were massed behind this improvised fortification." The elder Francks were sufficiently reconciled to the marriage to attend the ceremony; they signed the register at what had become César's parish church,
953:. The work was badly received: the Conservatoire orchestra opposed, the audience "ice-cold", the critics bewildered (the reactions ranged from "unreserved enthusiasm" to "systematic disparagement"), and many of Franck's fellow composers completely out of countenance towards a work "which by its general style and even certain details" (for example, use of an
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as rigorous and low-paying. Yet there were long-term benefits for young Franck. For it was from this period, extending back into his last
Conservatoire years and forward beyond his return to Paris, that his first mature compositions emerged, a set of Trios (piano, violin, cello); these are the first of what he regarded as his permanent work.
498:, who had been making a name for himself as an artistically gifted and mechanically innovative creator of magnificent new instruments. "My new organ," Franck said, "it's like an orchestra!" Franck's improvisatory skills were now in much demand, since liturgical practice of the time required the ability to take the plainsong music sung for
534:) made the performance of Bach's works possible. This was totally outside the scope of the kind of playing which Franck had learned from Benoist at the Conservatoire; most French organs did not have the pedal board notes required for such work, and even France's own great classical organ tradition dating from the period of the
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It was the second great change that had made Notre-Dame-de-Lorette become Franck's parish church: his appointment there as assistant organist in 1847, the first of a succession of increasingly more important and influential organ posts. Although Franck had never shone at the
Conservatoire as organist
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company under the stage name of
Desmousseaux. He had known Felicité from his years at the Conservatoire, and her family home had become something of a refuge for him from his overbearing father. When in 1846 Nicolas-Joseph found a composition dedicated to "Mlle. F. Desmousseaux, in pleasant memories"
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was not forthcoming (although the King later sent César-Auguste a gold medal) and there was no money to be made. As far as
Nicolas-Joseph was concerned, the excursion was a failure, and he brought his son back into a regime of teaching and family concerts in Paris, which Laurence Davies characterizes
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and to develop from it organ music fitting into the service between texts sung or spoken by the choir or clergy. Furthermore, Franck's playing ability and his love of the
Cavaillé-Coll instruments led to his collaboration with the builder to demonstrate the latter's instruments, Franck travelling to
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for its characteristic drone effect. These compositions (dedicated to fellow organists and pianists, to his old master
Benoist, and to Cavaillé-Coll) remain part of modern organ repertory and were, according to Rollin Smith, the first major contribution to French organ literature in over a century,
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of "abysmal literary quality" and a hastily sketched score. Franck himself was to say towards the end of his career that "it is not worth printing." All in all, however, this obscurity may have been restful for him after his previous life in the spotlight: "Franck was still very much in the dark as
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remembered and employed the cyclic form, although their concepts of music were no longer the same as Franck's. Relating Franck as organist and composer to his place in French music, Rollin Smith states that "the concept of César Franck as organist and undisputed master of nineteenth-century French
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s writing it has been said: "Franck, blissfully apt to forget that not every musician's hands were as enormous as his own, littered the piano part (the last movement in particular) with major-tenth chords... most mere pianistic mortals ever since have been obligated to spread them in order to play
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in 1872, Franck was proposed as successor. There is some uncertainty as to who made the nomination to the government; at different times Saint-Saëns and Theodore Dubois claimed responsibility, as did Cavaillé-Coll. What is certain is that Franck's name was at the head of the list of nominees—and
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Young Franck and his brother entered the Conservatoire in October 1837, César-Auguste continuing his piano studies under Zimmerman and beginning composition with Aimé Leborn. He took the first prize in piano at the end of his first year (1838) and consistently maintained that level of performance.
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for home practice to improve his technique, as well as spending many hours at the organ keyboard. The beauty of its sound and the mechanical facilities provided by the instrument assisted his reputation as improviser and composer, not only for organ music but in other genres as well. Pieces for
407:, and other musical notables, who gave moderate approval and constructive criticism. However, a public performance in early 1846 met with public indifference and critical snubs for the oratorio's artlessness and simplicity. The work was not performed again until 1872, after considerable revision.
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or through inflection of a melodic phrase, arrive at harmonically remote keys. Indeed, Franck's students reported that his most frequent admonition was to always "modulate, modulate." Franck's modulatory style and his idiomatic method of inflecting melodic phrases are among his most recognizable
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itself finally saw its first performance in 1879. As with many other premieres of Franck's larger choral and orchestral works, it was not successful: the work was highly sectionalized and lent itself to performance of excerpts rather than as a whole. There was no orchestra available, and those
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of Notre-Dame, wrote in his memoirs that Franck showed a "constant concern for the dignity of his art, for the nobility of his mission, and for the fervent sincerity of his sermon in sound... Joyous or melancholy, solemn or mystic, powerful or ethereal: Franck was all those at Sainte-Clotilde."
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Franck was finding, in the 1880s, that he was caught between two stylistic advocates: his wife Félicité, who did not care for changes in Franck's style from that to which she had first become accustomed and encouraged him to write commercially successful music; and his pupils, who had a perhaps
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His withdrawal may have been at his father's behest. While César-Auguste was pursuing his academic studies, he was, at his father's demand, also teaching privately and giving concerts. "It was a hard life for him, . . . and not made easier by the ill-tempered and even vindictive behavior of his
1003:, which are among the greatest treasures of organ literature, and which form a regular part of the repertory today. Of them, Vallas wrote: "Their beauty and importance are such that they may be properly considered as a kind of musical last will and testament." A more recent biographer,
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of Sainte-Clotilde: "If you only knew how I love this instrument . . . it is so supple beneath my fingers and so obedient to all my thoughts!". To prepare himself for this organ's capabilities (including its thirty-note pedal), Franck purchased a practice pedalboard from
439:
The first was an almost complete disruption of relations with his parents, especially his father. The main cause was his friendship with, and later love for, one of his private piano pupils, Eugénie-Félicité-Caroline Saillot (1824–1918), whose parents were members of the
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828:--if it is permissible to link these terms—was a conception so alien to Franck's nature that he never succeeded in giving it adequate expression." The resulting "impression of monotony", as Vallas puts it, caused even Franck's devoted pupils to speculate on
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of a couple of years earlier, and performances of works by various of his pupils. In addition, he was still playing Sunday improvisations to usually large congregations at Sainte-Clotilde. He had in mind major works for organ and possibly a cello sonata.
776:. Vallas says that Franck, "with his simple and trusting nature was incapable of understanding . . . how much back-chat of the nastier kind there could be even in a Conservatoire whose atmosphere he himself always found kindly disposed towards him."
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states that Franck, pianist before he was organist, "never wholly acquired the legato style himself"; nevertheless he realized the expansion of organ style made possible by the introduction of such techniques and set about the task of mastering them.
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taking over as choirmaster and assistant organist. The impact of this organ on Franck's performance and composition cannot be overestimated; together with his early pianistic experience it shaped his music-making for the remainder of his life.
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was completed and performed in April 1890, and was well received by public and critics. There had been other recent successes, including his own performances as concert pianist in and around Paris, an enthusiastic reception of a revival of
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of earlier centuries. Franck composed his liturgical works in the then-current style, which Davies characterizes as "secular music with a religious bias". Nevertheless, he was encouraged to begin work (1869) on a major choral work,
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Franck's reputation was now widespread enough, through his fame as performer, his membership in the Société, and his smaller but devoted group of students, that when Benoist retired as professor of organ at the reopening of the
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Franck had huge hands (evinced by the famous photo of him at the Ste-Clotilde organ), capable of spanning the interval of a 12th on the keyboard. This allowed him unusual flexibility in voice-leading between internal parts in
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185:, he moved to Paris, where he married and embarked on a career as teacher and organist. He gained a reputation as a formidable musical improviser, and travelled widely within France to demonstrate new instruments built by
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Under Félicité's parents' friendly if vigilant eyes, he continued to court her. As soon as he turned 25 in 1847, he informed his father of his intention to marry Felicité, and did so on 22 February 1848, the month of the
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The continuing ambiguity of esteem in which Franck was held may be shown in the award which Franck's circle had thought long delayed in its presentation. On 4 August 1885, Franck was made a Chevalier of the French
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936:. The controversy (not confined to Franck's immediate acquaintances) was not over the music, but over the philosophical and religious implications of the text (based on a poetic sketch by a certain Sicard and
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of 1879 (one of Saint-Saëns's particular dislikes) had proven itself an attention-getting and thought-provoking work (critics described it as having "disturbing vitality" and an "almost theatrical grimness").
766:. This group became increasingly tight-knit in their mutual esteem and affection between teacher and pupils. d'Indy relates that independently but unanimously each new student came to call their professor
410:
In reaction, César-Auguste essentially retired from public life to one of obscurity as a teacher and accompanist, in which his father reluctantly concurred. Young Franck had commissions both in Paris and in
909:, writing in the mid-twentieth century, says that the Sonata had "become Franck's most popular work, and, in France at least, the most generally accepted work in the whole repertoire of chamber music."
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How exactly all of this turmoil may have played out in the composer's mind is uncertain. It is certain that a number of his more "advanced" works appeared in this time period: the symphonic poems
208:
in 1872; he took French nationality, a requirement of the appointment. After acquiring the professorship, Franck wrote several pieces that have entered the standard classical repertoire, including
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Franck continued to write compositions for choir in this period, but most were never published. As was then common even for Conservatoire-trained musicians, he had never become familiar with the
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293:. Although young César-Auguste, as he was known in his early years, showed both drawing and musical skills, Nicolas-Joseph envisioned him as a young prodigy pianist-composer, after the manner of
820:
sections that were performed were accompanied by piano. Further, even d'Indy points out that Franck seemed incapable of musically expressing an evil contrasting to the virtues expressed in the
538:
was at that time neglected in favour of the art of improvisation. Hesse's performances might have been treated simply as a short sensation for their dazzling virtuosity, but that Hesse's pupil
453:. "It was his intention to make a clean break with his father and to let it be known he had done so . . . . He was determined to become a new person, as different as possible from the other."
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at Notre-Dame in 1869. He began to have a regular circle of pupils, who were there ostensibly for organ study but showed increasing interest in Franck's compositional techniques.
620:(1859). The quality of the movements in this work, composed over a number of years, is uneven, but from it comes one of Franck's most enduring compositions, the communion anthem "
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In his search to master new organ-playing techniques he was both challenged and stimulated by his third and last change in organ posts. On 22 January 1858, he became organist and
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In 1835, his father resolved that the time had come for wider audiences, and brought César-Auguste and his younger brother Joseph to Paris, to study privately: counterpoint with
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His increasing reputation as both performer and improviser continued to make Franck much in demand for inaugural or dedicatory recitals of new or rebuilt Cavaillé-Coll organs:
1357:. His works were some of the finest organ pieces to come from France in over a century, and laid the groundwork for the French symphonic organ style. In particular, his early
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1007:, has written in similar terms: "The sense of Franck bidding a protracted good-bye is evident throughout. ... It is hard, it is well-nigh impossible, to believe that the
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Unusually for a composer of such importance and reputation, Franck's fame rests largely on a small number of compositions written in his later years, particularly his
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was including them in concerts in Germany on a regular basis. Franck reinforced his understanding of German organ music and how it should be played by hearing
1346:, which was originally written for tenor solo with organ and string accompaniment, but has also been arranged for other voices and instrumental combinations.
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in composition in the following year. However, for reasons that are not explicit, he made a "voluntary" retirement from the Conservatoire on 22 April 1842.
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289:, to Nicolas-Joseph Franck, a bank clerk whose family came from the German-Belgian border, and Marie-Catherine-Barbe Franck (née Frings), who was from
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His work in counterpoint was less spectacular, taking successively third, second, and first prizes between 1838 and 1840. He added organ studies with
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The key to his music may be found in his personality. His friends record that he was "a man of utmost humility, simplicity, reverence and industry."
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589:), where he remained until his death. Eleven months later, the parish installed a new three-manual Cavaillé-Coll instrument, whereupon he was made
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The return to Belgium lasted less than two years. Profitable concerts did not arise; the critics were indifferent or scornful; patronage from the
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Second edition, revised and expanded. Series: The Complete Organ No. 6; Juilliard Performance Guide No. 1. Hillsdale, NY: Pendragon Press.
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for these activities, and for the composition of songs and small works. He had offered some compositions to celebrate and strengthen the new
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Many of his original circle of students had studied or were studying at the Conservatoire. Among the most notable in later life were
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While Franck could not complete the harmonium collection, the organ pieces were finished in August and September 1890. They are the
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He was now in a position to spend time composing works for which ideas had been germinating for years. He interrupted his work on
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1089:, a three-quarter bust of Franck, which in 1893 was placed on the side of the tomb. In 1904, a monument to Franck by sculptor
881:(1879–85). Many met with indifferent success or none, at least on their first presentations during Franck's lifetime; but the
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1353:. On the basis of a mere twelve major organ works, Franck is considered by many the greatest composer of organ music after
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At the same time, a revolutionary change was occurring in the techniques of French organ performance. The German organist
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897:. This became a resounding success; Ysaÿe played it in Brussels, in Paris, and took it on tour, often with his brother
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at the piano. His last performance of the piece occurred in Paris during 1926, with the pianist on that occasion being
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described this instrument as "unquestionably the constructor's masterpiece up to this time". Franck himself told the
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354:, which included both performance and improvisation, taking second prize in 1841, with the aim of competing for the
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177:). He gave his first concerts there in 1834 and studied privately in Paris from 1835, where his teachers included
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to what his vocation was." However, two crucial changes in these years were to shape the remainder of his life.
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The dissension between Franck's family and his circle of students reached a new height when Franck published
637:." The group includes two of his best-known organ works, the "Prélude, Fugue et Variation", op. 18 and the "
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Franck started the new term at the Conservatoire in October, but caught a cold mid-month. This turned into
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228:. As a teacher and composer he had a vast following of composers and other musicians. His pupils included
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spoke at the original gravesite at Montrouge. Later, Franck's body was moved to its current location at
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718:, of which Franck became the oldest member; his music appeared on its first program in November 1871.
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César Franck; a Translation from the French of Vincent d'Indy: with an Introduction by Rosa Newmarch.
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Ober, William B. (1970). "De Mortibus Musicorum: Some cases drawn from a pathologist's notebook."
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composition, and in the wide chords and stretches featured in much of his keyboard music (e.g., his
1041:
The funeral mass for Franck was held at Sainte-Clotilde, attended by a large congregation including
702:, which was to occupy him for more than ten years, the delay partly due to the interruptions of the
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saw them, offered encouragement and constructive criticism, and performed them some years later in
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966:. It was more sketched out than composed and Franck never completed it. In contrast, a massive
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542:(1823–1881) came to Paris in 1852 and again in 1854. Lemmens was then professor of organ at the
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towns throughout France to show off older instruments or play inaugural concerts on new ones.
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2396:"Panis angelicus" sung by Saint Philips Boys Choir (soloists Jaymi Bandtock & Sam Harper)
992:, where he hoped to work on the proposed organ pieces as well as some commissioned works for
419:
of 1848; the public received some of them with interest, but as the Republic gave way to the
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Franck exerted a significant influence on music. He helped to renew and reinvigorate
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and other faculty members. César-Auguste gave his first concerts in 1834, one before
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are a cornerstone of the organ repertoire, featuring regularly on concert programs.
1250:. In his compositions, Franck showed a talent and a penchant for frequent, graceful
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1097:, was placed in the Square Samuel-Rousseau across the street from Sainte-Clotilde.
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for organ, written 1860–1862 (although not published until 1868), particularly the
355:
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301:, who would bring fame and fortune to his family. His father entered Franck at the
253:
181:. After a brief return to Belgium, and a disastrous reception of an early oratorio
178:
4327:
949:
Further controversy arose with the publication of Franck's only symphony, that in
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that would be distinctly French. The term became the motto of the newly founded
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organ composition pervades nearly every reference to his works in other media."
1243:
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494:, or primary organist. Franck's new church possessed a fine new organ (1846) by
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204:, a position he retained for the rest of his life. He became professor at the
1714:
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composer retained any illusions about his chances of full physical mending."
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399:. In 1843, Franck began work on his first non-chamber work, the oratorio
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59:
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1363:, a twenty-five-minute work, paved the way for the organ symphonies of
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989:
486:
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2227:
Toward an Authentic Interpretation of the Organ Works of César Franck.
1722:
1690:
1065:(who succeeded Franck as professor of organ at the Conservatoire) and
676:; for some of these instruments, Franck had acted (by himself or with
3016:
396:
2406:
2214:
Series: The Complete Organ No. 1. Hillsdale, NY: Pendragon Press
1706:
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In July 1890 , Franck was riding in a cab which was struck by a
2708:
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2704:
996:. During the vacation, he was able to start on both projects.
1254:
of key. Often these modulatory sequences, achieved through a
490:
and two years later invited Franck to assume the position of
2176:
A Basic Music Library- Essential Scores and Sound Recordings
2152:
London: John Lane, Bodley Head. Reprinted 1965 NY: Dover.
1415:
d'Indy calls Nicolas-Joseph "stern and autocratic" (p. 31);
1124:
616:
began to circulate, among the most notable of which was the
722:"Père Franck", Conservatory professor, composer (1872–1890)
1349:
As an organist he was particularly noted for his skill in
427:, they dropped out of use. In 1851 he attempted an opera,
1077:
in Paris, into a tomb designed by his friend, architect
196:
Stained glass located in Basilica of St. Clotilde, Paris
2338:
Performances of works by César Franck in MP3 format at
960:
In 1888, Franck tried his hand again at another opera,
5142:
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Academic staff of the Royal Conservatory of Brussels
5006:
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4381:
4305:
4254:
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3713:
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3476:
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3147:
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3057:
2943:
2811:
2742:
2662:
2641:
2620:
2602:
2570:
2544:
2500:
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1419:
bluntly refers to "commercial exploitation" (p. 16)
797:to produce (among many shorter works) the oratorio
403:. It was privately premiered in 1845 before Liszt,
154:; 10 December 1822 – 8 November 1890) was a French
130:
109:
86:
70:
45:
23:
2127:
1304:Monument to Franck at the Square Samuel-Rousseau,
633:and "the most important organ music written since
932:(written 1886–88), a symphonic poem based on the
166:, and music teacher born in present-day Belgium.
2269:. New York: Oxford University Press. Trans. of
173:(which at the time of his birth was part of the
16:Belgian-French composer and organist (1822–1890)
1213:Performed by Tibor Szomora and Minami Matsunaga
787:, where Franck lived from 1865 until his death
2720:
2437:
1045:(officially representing the Conservatoire),
8:
5367:Pupils of Pierre-Joseph-Guillaume Zimmermann
5227:Academic staff of the Conservatoire de Paris
893:as a wedding gift for the Belgian violinist
5312:19th-century French male classical pianists
2194:Norton/Grove Concise Encyclopedia of Music.
2126:Boyden, Matthew; Buckley, Jonathan (1994).
3930:
3063:
2727:
2713:
2705:
2444:
2430:
2422:
143:César-Auguste-Jean-Guillaume-Hubert Franck
31:
20:
2296:International Music Score Library Project
2178:. Chicago: American Library Association.
1454:
1452:
1242:, showing a great deal of influence from
801:(1871, revised 1874), the symphonic poem
2212:Playing the Organ Works of César Franck.
1639:"Orgue Cavaillé-Coll Ste-Clotilde Paris"
1081:. A number of Franck's students, led by
733:, one of Franck's most notable students.
319:of the newly formed Kingdom of Belgium.
5149:
2586:Les Sept Paroles du Christ sur la Croix
1408:
1085:, commissioned a bronze medallion from
330:. Both men were also professors at the
1691:"César Franck: Mind, Flesh and Spirit"
1386:and developed the use of cyclic form.
1328:Sonata for Violin and Piano in A major
1220:
1179:III. Recitativo-Fantasia: Ben moderato
5074:Romanticism and the French Revolution
2385:"Panis angelicus" sung by Chloë Agnew
2271:La véritable histoire de César Franck
2162:original French version on Wikisource
2130:Classical Music on CD-The Rough Guide
1684:
1682:
624:". More notable still is the set of
151:[sezaʁoɡystʒɑ̃ɡijomybɛʁfʁɑ̃k]
149:
7:
1322:for piano and orchestra (1885), the
1107:List of compositions by César Franck
832:viability as a single unified work.
2247:Lanham, Maryland: Scarecrow Press.
200:In 1858, he became organist at the
5382:Royal Conservatory of Liège alumni
2321:International César Franck Society
2198:Grove Concise Dictionary of Music.
1221:Problems playing these files? See
14:
2245:César Franck: His Life and Times.
311:, piano, organ, and harmony with
287:United Kingdom of the Netherlands
175:United Kingdom of the Netherlands
64:United Kingdom of the Netherlands
5272:Burials at Montparnasse Cemetery
5262:Belgian people of German descent
5252:Belgian male classical composers
5202:19th-century classical composers
5164:
5152:
5127:
5126:
2690:
2689:
1676:quoted in d'Indy, p. 41-42, note
1202:
1183:
1164:
1145:
811:for organ (1878), and the piano
783:Plaque on the house, at n°95 du
658:Louis James Alfred Lefébure-Wély
372:Teacher and organist (1842–1858)
5317:French male classical composers
5287:Knights of the Legion of Honour
1334:(1879), and the symphonic poem
1111:Many of Franck's works employ "
846:, to whom Franck dedicated his
664:(1862) and later for organs at
202:Basilica of St. Clotilde, Paris
117:Basilica of St. Clotilde, Paris
5372:Road incident deaths in France
5342:Naturalized citizens of France
5197:19th-century Belgian composers
2207:vol. 25 no. 5 (November 1970).
2174:Davis, Elizabeth, ed. (1997).
558:of Sainte-Clotilde (1858–1890)
544:Royal Conservatory of Brussels
514:Organ of Notre-Dame-de-Lorette
1:
5302:Conservatoire de Paris alumni
5282:Catholic liturgical composers
5212:19th-century Belgian pianists
5207:19th-century French composers
5097:Wanderer above the Sea of Fog
2670:Cello Sonata (Franck/Delsart)
1643:www.orgue-clotilde-paris.info
1287:, a pupil and later organist
265:Child and student (1822–1842)
5217:19th-century French pianists
2306:Choral Public Domain Library
2168:César Franck and His Circle.
1238:that is prototypically late
889:In 1886 Franck composed the
716:Société Nationale de Musique
381:Notre-Dame-de-Lorette, Paris
5247:Belgian emigrants to France
5237:Belgian classical organists
5232:Belgian classical composers
2302:Free scores by César Franck
2292:Free scores by César Franck
2200:). New York: Norton, 1988.
2046:"Auguste Rodin – Biography"
1326:for piano solo (1884), the
1135:Sonata for Violin and Piano
867:Prelude, Chorale, and Fugue
824:: "This personification of
573:, 1885 (private collection)
567:César Franck at the console
303:Royal Conservatory of Liège
5413:
5362:Pupils of François Benoist
5307:French classical organists
5242:Belgian classical pianists
5014:Coleridge's theory of life
2166:Davies, Laurence (1970).
1324:Prelude, Chorale and Fugue
1141:I. Allegretto ben moderato
1104:
612:organ, for choir, and for
522:(1809–1863), a student of
5332:French Romantic composers
5106:
5069:Romanticism and economics
3084:Manuel Antônio de Almeida
2686:
2459:
2170:Boston: Houghton Mifflin.
2148:d'Indy, Vincent (1910).
1788:Vallas, p. 137-8; Smith,
1198:IV. Allegretto poco mosso
1095:César Franck at the Organ
587:Basilique-Sainte-Clotilde
581:at the newly consecrated
365:Revue et Gazette musicale
30:
5397:Male classical organists
5297:Composers for pipe organ
2849:German historical school
2628:Prélude, Choral et Fugue
2611:Grande Pièce Symphonique
2350:14 February 2010 at the
2134:. London: Rough Guides.
2095:p. 43, quoted in Smith,
1689:Thomson, Andrew (1990).
1360:Grande Pièce Symphonique
1332:Piano Quintet in F minor
639:Grande Pièce Symphonique
37:Franck, photographed by
5267:Belgian Roman Catholics
5257:Belgian music educators
3496:Józef Ignacy Kraszewski
2414:Encyclopædia Britannica
2210:Smith, Rollin (1997).
540:Jacques-Nicolas Lemmens
313:Joseph Daussoigne-Méhul
277:, where Franck was born
5357:Pupils of Anton Reicha
5327:French Roman Catholics
5322:French music educators
5222:19th-century organists
5079:Romanticism in science
5034:Middle Ages in history
5029:List of Romantic poets
3741:Josiah Gilbert Holland
2633:Prélude, Aria et Final
2417:(11th ed.). 1911.
2324:(in German and French)
1637:Hildebrandt, Vincent.
1309:
1129:
1038:
875:(1885), and the opera
869:for piano (1884), the
850:
788:
785:boulevard Saint-Michel
734:
653:
574:
528:Johann Nikolaus Forkel
515:
496:Aristide Cavaillé-Coll
464:
461:Aristide Cavaillé-Coll
383:
346:
278:
197:
187:Aristide Cavaillé-Coll
122:Conservatoire de Paris
5337:French male organists
5049:Romantic epistemology
5039:Opium and Romanticism
3608:Stojadinović-Srpkinja
2834:Counter-Enlightenment
2408:"Franck, César"
2379:Official MySpace Page
2340:Logos Virtual Library
1303:
1128:
1105:Further information:
1075:Montparnasse Cemetery
1031:Montparnasse Cemetery
1028:
842:
782:
729:
706:. The war, like the
670:Saint-Étienne-du-Mont
660:'s new instrument at
647:
565:
513:
474:Notre-Dame-de-Lorette
459:
379:
340:
272:
195:
147:French pronunciation:
5352:Musicians from Liège
5113:Age of Enlightenment
2755:England (literature)
2676:Symphonic Variations
2530:Symphonic Variations
2462:List of compositions
1667:Vallas, p. 112, note
1319:Symphonic Variations
872:Symphonic Variations
135:List of compositions
5292:Composers for piano
5277:Cathedral organists
5064:Romantic psychology
2859:Hudson River School
2803:Sweden (literature)
2788:Russia (literature)
2536:Symphony in D minor
1981:Stove, pp. 279, 295
1365:Charles-Marie Widor
1314:Symphony in D minor
1275:for organ). Of the
1230:His music is often
1117:Symphony in D minor
1063:Charles-Marie Widor
1047:Camille Saint-Saëns
986:horse-drawn trolley
943:The Song of Solomon
740:Paris Conservatoire
704:Franco-Prussian War
678:Camille Saint-Saëns
343:Paris Conservatoire
341:School building of
332:Paris Conservatoire
285:, then part of the
281:Franck was born in
206:Paris Conservatoire
5392:Oratorio composers
3049:White Mountain art
2990:Historical fiction
2798:Spain (literature)
2649:École César Franck
2516:Le Chasseur maudit
2192:"Franck, César."
2026:Vallas, p. 234-235
1999:Stove, pp. 283–284
1954:Vallas, p. 211-213
1649:on 27 October 2017
1337:Le Chasseur maudit
1310:
1306:7th arrondissement
1130:
1059:Alexandre Guilmant
1039:
1029:Franck's grave at
856:Le Chasseur maudit
851:
789:
735:
654:
579:maître de chapelle
575:
516:
465:
384:
347:
299:Sigismond Thalberg
279:
250:Charles Tournemire
198:
5347:Organ improvisers
5140:
5139:
5054:Romantic medicine
5024:List of romantics
4463:
4462:
4114:Felix Mendelssohn
4109:Fanny Mendelssohn
3920:
3919:
3634:Rosalía de Castro
3572:Soares dos Passos
2920:Transcendentalism
2884:Nazarene movement
2844:Düsseldorf School
2702:
2701:
2253:978-0-8108-8207-2
2235:978-1-57647-076-3
2050:www.rodin-web.org
1701:(1774): 639–641.
1695:The Musical Times
1236:harmonic language
1234:complex, using a
1208:
1189:
1170:
1151:
1071:Emmanuel Chabrier
1033:, with a bust by
980:Illness and death
938:Louis de Fourcaud
865:(1883–1884), the
822:Gospel beatitudes
442:Comédie-Française
429:Le Valet de Ferme
345:, used until 1911
140:
139:
5404:
5169:
5168:
5167:
5157:
5156:
5155:
5148:
5130:
5129:
5089:Evolution theory
3931:
3064:
2925:Ukrainian school
2729:
2722:
2715:
2706:
2693:
2692:
2663:Related articles
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1927:d'Indy, p. 173-4
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1645:. Archived from
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1273:Troisième Choral
1210:
1209:
1191:
1190:
1172:
1171:
1153:
1152:
1127:
915:Légion d'honneur
693:polyphonic music
600:Norbert Dufourcq
352:François Benoist
328:Pierre Zimmerman
153:
148:
102:Academic teacher
77:
56:10 December 1822
55:
53:
35:
21:
5412:
5411:
5407:
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5405:
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5177:
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5171:Classical music
5165:
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5153:
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5143:
5141:
5136:
5135:
5124:
5116:
5102:
5059:Romantic poetry
5044:Romantic ballet
5019:German idealism
5002:
4968:Lacoue-Labarthe
4894:
4641:
4459:
4408:
4377:
4358:Rimsky-Korsakov
4301:
4250:
4199:
4158:
4067:
4011:
3975:
3916:
3765:
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3658:
3617:
3576:
3530:
3472:
3413:Maria Edgeworth
3349:
3342:
3221:
3143:
3053:
3032:Romantic genius
2962:Gesamtkunstwerk
2939:
2900:Sturm und Drang
2807:
2738:
2733:
2703:
2698:
2682:
2658:
2654:Franck Nunataks
2637:
2616:
2598:
2566:
2540:
2501:Symphonic music
2496:
2464:
2455:
2450:
2405:
2395:
2384:
2352:Wayback Machine
2323:
2316:Mutopia Project
2288:
2283:
2196:(Pub. in UK as
2186:
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1559:
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1532:
1528:
1524:Vallas, p. 75-6
1523:
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1375:, and his late
1343:Panis angelicus
1316:(1886–88), the
1298:
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1103:
1018:complicated by
982:
923:Les Béatitudes.
830:Les Béatitudes'
748:Ernest Chausson
724:
708:1848 Revolution
650:Sainte-Clotilde
622:Panis angelicus
595:Théodore Dubois
585:(from 1896 the
583:Sainte-Clotilde
560:
417:Second Republic
374:
326:and piano with
273:House Grady in
267:
262:
242:Guillaume Lekeu
230:Ernest Chausson
169:He was born in
146:
126:
105:
82:
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75:
74:8 November 1890
66:
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49:
41:
26:
17:
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5387:Walloon people
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5007:Related topics
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3542:Castelo Branco
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3268:Brothers Grimm
3265:
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3019:
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3009:
3004:
2999:
2992:
2987:
2986:
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2980:
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2968:Gothic fiction
2965:
2958:
2956:British Marine
2953:
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2945:
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2927:
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2854:Gothic revival
2851:
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2600:
2599:
2597:
2596:
2589:
2582:
2579:Les Béatitudes
2574:
2572:
2568:
2567:
2565:
2564:
2562:String Quartet
2559:
2554:
2548:
2546:
2542:
2541:
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2287:
2286:External links
2284:
2282:
2281:
2267:Hubert J. Foss
2256:
2238:
2223:
2208:
2205:Stereo Review,
2201:
2190:
2184:
2171:
2164:
2146:
2140:
2122:
2120:
2117:
2115:
2114:
2101:
2093:Mes Souvenirs,
2084:
2075:
2073:p. 36, note 87
2062:
2037:
2028:
2019:
2010:
2001:
1992:
1990:Vallas, p. 232
1983:
1974:
1972:Vallas, p. 216
1965:
1963:Vallas, p. 212
1956:
1947:
1938:
1929:
1920:
1918:Vallas, p. 206
1911:
1909:Vallas, p. 185
1902:
1893:
1891:Vallas, p. 198
1884:
1875:
1873:Vallas, p. 168
1866:
1864:Vallas, p. 243
1857:
1855:Vallas, p. 247
1848:
1846:Vallas, p. 163
1839:
1837:d'Indy, p. 223
1830:
1828:Vallas, p. 152
1821:
1819:d'Indy, p. 247
1812:
1810:d'Indy, p. 235
1803:
1794:
1781:
1779:Vallas, p. 135
1772:
1759:
1750:
1748:Vallas, p. 127
1741:
1728:
1707:10.2307/966717
1678:
1669:
1660:
1629:
1616:
1614:Vallas, p. 104
1607:
1605:Vallas, p. 103
1598:
1596:Vallas, p. 100
1589:
1587:Vallas, p. 102
1580:
1571:
1562:
1553:
1544:
1535:
1533:Vallas, p. 105
1526:
1517:
1508:
1506:d'Indy, p. 111
1499:
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1478:
1469:
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1448:
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1430:
1421:
1407:
1405:
1402:
1400:
1397:
1388:Claude Debussy
1297:
1294:
1280:them at all."
1277:Violin Sonata'
1248:Richard Wagner
1232:contrapuntally
1218:
1212:
1201:
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1121:
1102:
1099:
1083:Augusta Holmès
981:
978:
968:String Quartet
951:D minor (1888)
817:Les Béatitudes
794:Les Béatitudes
760:Augusta Holmès
752:Vincent d'Indy
731:Vincent d'Indy
723:
720:
699:Les Béatitudes
686:Anton Bruckner
682:Hans von Bülow
618:Messe à 3 voix
571:Jeanne Rongier
569:, painting by
559:
553:
484:district), as
425:Louis-Napoléon
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234:Vincent d'Indy
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3827:Nikolai Gogol
3825:
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3458:P. B. Shelley
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3438:Mary Robinson
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3167:Chateaubriand
3165:
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2998:
2997:
2996:Mal du siècle
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2576:
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2569:
2563:
2560:
2558:
2557:Violin Sonata
2555:
2553:
2552:Piano Quintet
2550:
2549:
2547:
2545:Chamber music
2543:
2537:
2534:
2532:
2531:
2527:
2525:
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2280:
2279:0-837-16873-2
2276:
2272:
2268:
2264:
2263:César Franck.
2260:
2257:
2254:
2250:
2246:
2242:
2239:
2236:
2232:
2228:
2225:——— (2002).
2224:
2221:
2220:0-945193-79-3
2217:
2213:
2209:
2206:
2202:
2199:
2195:
2191:
2187:
2185:0-8389-3461-7
2181:
2177:
2172:
2169:
2165:
2163:
2159:
2158:0-486-21317-X
2155:
2151:
2147:
2143:
2141:1-85828-113-X
2137:
2132:
2131:
2124:
2123:
2118:
2111:
2105:
2102:
2098:
2094:
2088:
2085:
2082:Stove, p. 257
2079:
2076:
2072:
2066:
2063:
2051:
2047:
2041:
2038:
2035:Stove, p. 300
2032:
2029:
2023:
2020:
2017:Stove, p. 296
2014:
2011:
2005:
2002:
1996:
1993:
1987:
1984:
1978:
1975:
1969:
1966:
1960:
1957:
1951:
1948:
1945:d'Indy, p. 54
1942:
1939:
1936:Stove, p. 262
1933:
1930:
1924:
1921:
1915:
1912:
1906:
1903:
1900:d'Indy, p. 52
1897:
1894:
1888:
1885:
1882:Stove, p. 260
1879:
1876:
1870:
1867:
1861:
1858:
1852:
1849:
1843:
1840:
1834:
1831:
1825:
1822:
1816:
1813:
1807:
1804:
1801:d'Indy, p.235
1798:
1795:
1791:
1785:
1782:
1776:
1773:
1769:
1763:
1760:
1757:Davies, p. 87
1754:
1751:
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1602:
1599:
1593:
1590:
1584:
1581:
1578:d'Indy, p. 39
1575:
1572:
1569:Vallas, p. 85
1566:
1563:
1557:
1554:
1551:Davies, p. 72
1548:
1545:
1542:d'Indy, p. 41
1539:
1536:
1530:
1527:
1521:
1518:
1515:Davies, p. 62
1512:
1509:
1503:
1500:
1497:Davies, p. 63
1494:
1491:
1487:
1482:
1479:
1476:Vallas, p. 45
1473:
1470:
1467:Vallas, p. 37
1464:
1461:
1458:d'Indy, p. 34
1455:
1453:
1449:
1443:
1440:
1437:Vallas, p. 22
1434:
1431:
1428:Vallas, p. 15
1425:
1422:
1418:
1412:
1409:
1403:
1398:
1396:
1393:
1392:Maurice Ravel
1389:
1385:
1384:chamber music
1380:
1378:
1377:Trois Chorals
1374:
1370:
1366:
1362:
1361:
1356:
1352:
1351:improvisation
1347:
1345:
1344:
1339:
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1325:
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1233:
1226:
1224:
1199:
1180:
1161:
1142:
1136:
1120:
1118:
1114:
1108:
1100:
1098:
1096:
1092:
1091:Alfred Lenoir
1088:
1087:Auguste Rodin
1084:
1080:
1076:
1072:
1068:
1064:
1060:
1056:
1055:Gabriel Fauré
1052:
1051:Eugène Gigout
1048:
1044:
1036:
1035:Auguste Rodin
1032:
1027:
1023:
1021:
1017:
1012:
1010:
1006:
1002:
1001:Trois Chorals
997:
995:
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987:
979:
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969:
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939:
935:
931:
926:
924:
920:
916:
910:
908:
904:
900:
896:
892:
891:Violin Sonata
887:
884:
880:
879:
874:
873:
868:
864:
863:
858:
857:
849:
848:Violin Sonata
845:
841:
837:
833:
831:
827:
823:
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694:
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687:
683:
679:
675:
671:
667:
663:
662:Saint-Sulpice
659:
651:
646:
642:
640:
636:
635:Mendelssohn's
631:
627:
623:
619:
615:
610:
609:Pleyel et Cie
605:
601:
596:
592:
588:
584:
580:
572:
568:
564:
557:
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549:
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541:
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477:
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443:
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434:
430:
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422:
421:Second Empire
418:
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408:
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398:
394:
389:
388:Belgian court
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296:
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284:
276:
271:
264:
259:
257:
255:
251:
247:
246:Albert Renaud
243:
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144:
136:
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118:
115:
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112:
110:Organizations
108:
101:
98:
95:
92:
91:
89:
85:
81:Paris, France
73:
69:
65:
61:
48:
44:
40:
34:
29:
22:
19:
5125:
5118:
5111:
5095:
4815:Porto-Alegre
4469:Philosophers
4439:
4353:Rachmaninoff
3802:Chavchavadze
3792:Baratashvili
3552:João de Deus
3521:Wincenty Pol
3313:Küchelbecker
3041:
3007:Noble savage
2994:
2960:
2935:Wallenrodism
2912:
2898:
2829:Coppet group
2763:(literature)
2688:
2675:
2609:
2591:
2584:
2577:
2571:Choral music
2528:
2521:
2514:
2507:
2489:
2482:
2475:
2453:César Franck
2452:
2412:
2370:César Franck
2361:César Franck
2345:César Franck
2308:(ChoralWiki)
2270:
2262:
2259:Vallas, Léon
2244:
2241:Stove, R. J.
2226:
2211:
2204:
2197:
2193:
2175:
2167:
2149:
2129:
2109:
2104:
2096:
2092:
2087:
2078:
2070:
2065:
2053:. Retrieved
2049:
2040:
2031:
2022:
2013:
2004:
1995:
1986:
1977:
1968:
1959:
1950:
1941:
1932:
1923:
1914:
1905:
1896:
1887:
1878:
1869:
1860:
1851:
1842:
1833:
1824:
1815:
1806:
1797:
1789:
1784:
1775:
1767:
1762:
1753:
1744:
1736:
1731:
1698:
1694:
1672:
1663:
1651:. Retrieved
1647:the original
1642:
1632:
1624:
1619:
1610:
1601:
1592:
1583:
1574:
1565:
1556:
1547:
1538:
1529:
1520:
1511:
1502:
1493:
1481:
1472:
1463:
1442:
1433:
1424:
1411:
1381:
1376:
1373:Marcel Dupré
1369:Louis Vierne
1358:
1348:
1341:
1335:
1330:(1886), the
1317:
1311:
1288:
1285:Louis Vierne
1282:
1276:
1272:
1268:
1261:
1229:
1110:
1094:
1079:Gaston Redon
1067:Édouard Lalo
1040:
1020:pericarditis
1013:
1008:
1000:
998:
983:
972:
961:
959:
955:English horn
948:
941:
929:
927:
922:
918:
911:
895:Eugène Ysaÿe
888:
882:
876:
870:
860:
854:
852:
844:Eugène Ysaÿe
834:
829:
825:
816:
812:
809:Trois Pièces
808:
807:(1876), the
802:
798:
792:
790:
773:Prix de Rome
771:
768:Père Franck,
767:
764:Louis Vierne
756:Henri Duparc
745:
736:
711:
697:
690:
655:
629:
625:
617:
603:
590:
586:
578:
576:
566:
555:
517:
491:
485:
478:
470:Paris revolt
466:
450:
447:César Franck
446:
438:
428:
409:
400:
385:
363:
360:
356:Prix de Rome
348:
324:Anton Reicha
321:
306:
280:
254:Louis Vierne
238:Henri Duparc
199:
182:
179:Anton Reicha
168:
142:
141:
76:(1890-11-08)
39:Pierre Petit
25:César Franck
18:
5192:1890 deaths
5187:1822 births
4805:Michałowski
4637:Wackenroder
4602:F. Schlegel
4597:A. Schlegel
4373:Tchaikovsky
4262:Bortkiewicz
4134:R. Schumann
4129:C. Schumann
4094:Kalkbrenner
4063:Saint-Saëns
3368:Anne Brontë
3253:Eichendorff
3238:B. v. Arnim
3233:A. v. Arnim
3043:Weltschmerz
3002:Medievalism
2951:Blue flower
2879:Nationalist
2824:Bohemianism
2736:Romanticism
2603:Organ works
2509:Les Éolides
2312:Free scores
2008:Ober, p. 83
1486:Léon Vallas
1417:Léon Vallas
1256:pivot chord
1252:modulations
1244:Franz Liszt
1160:II. Allegro
1113:cyclic form
1043:Léo Delibes
1005:R. J. Stove
859:(1882) and
804:Les Éolides
712:Ars Gallica
641:", op. 17.
548:Léon Vallas
532:pedal board
526:biographer
520:Adolf Hesse
305:, studying
295:Franz Liszt
87:Occupations
5181:Categories
4680:Chassériau
4655:Aivazovsky
4363:Rubinstein
4348:Mussorgsky
4297:Wieniawski
4282:Paderewski
4124:Moszkowski
3907:Vörösmarty
3897:Shevchenko
3751:Longfellow
3675:Batyushkov
3670:Baratynsky
3639:Espronceda
3506:Mickiewicz
3501:Malczewski
3468:Wordsworth
3453:M. Shelley
3408:de Quincey
3273:Günderrode
3157:Baudelaire
3037:Wanderlust
2874:Lake Poets
2621:Piano solo
2593:Psaume 150
2523:Les Djinns
1446:d'Indy, 31
1399:References
1223:media help
934:Greek myth
919:Rédemption
899:Théo Ysaÿe
862:Les Djinns
826:ideal evil
799:Rédemption
674:La Trinité
666:Notre-Dame
626:Six Pièces
504:the Office
463:, ca. 1855
222:pipe organ
220:works for
158:composer,
52:1822-12-10
5159:Biography
5120:Modernism
4780:Kiprensky
4740:Géricault
4725:Friedrich
4715:Delacroix
4690:Constable
4670:Bonington
4660:Bierstadt
4612:Senancour
4587:Schelling
4542:Lamennais
4537:Khomyakov
4502:Coleridge
4497:Chaadayev
4404:Stanković
4399:Mokranjac
4318:Balakirev
4277:Moniuszko
4226:Donizetti
4221:Cherubini
4119:Meyerbeer
4104:Marschner
4079:Beethoven
3992:Moscheles
3926:Musicians
3912:Wergeland
3877:Orbeliani
3832:Grundtvig
3736:Hawthorne
3705:Zhukovsky
3700:Vyazemsky
3685:Lermontov
3644:Gutiérrez
3603:Radičević
3567:Herculano
3491:Krasiński
3433:Radcliffe
3403:Coleridge
3378:E. Brontë
3373:C. Brontë
3303:Jean Paul
3298:Hölderlin
3187:Lamartine
3124:Magalhães
3114:Guimarães
3022:Pantheism
3012:Nostalgia
2864:Indianism
2812:Movements
2743:Countries
2642:Namesakes
2477:Stradella
2329:Biography
2055:16 August
1715:0027-4666
1653:16 August
1404:Citations
1289:titulaire
994:harmonium
815:(1879).
648:Organ of
630:Pastorale
614:harmonium
591:titulaire
556:Titulaire
536:Couperins
492:titulaire
482:Le Marais
451:C. Franck
449:or plain
431:, with a
405:Meyerbeer
317:Leopold I
260:Biography
210:symphonic
5132:Category
4948:Dahlhaus
4933:Blanning
4900:Scholars
4870:Tropinin
4865:Tidemand
4855:Stattler
4850:Scheffer
4750:Głowacki
4720:Edelfelt
4675:Bryullov
4617:Snellman
4592:Schiller
4582:Rousseau
4562:Michelet
4507:Constant
4477:Belinsky
4450:Sibelius
4394:Konjović
4368:Scriabin
4338:Lyapunov
4272:Lipiński
4241:Spontini
4231:Paganini
4175:Goldmark
3966:Thalberg
3961:Schubert
3941:Bruckner
3902:Topelius
3892:Runeberg
3882:Prešeren
3852:Leopardi
3817:Frashëri
3807:Eminescu
3787:Andersen
3695:Tyutchev
3680:Karamzin
3654:Zorrilla
3649:Saavedra
3547:Castilho
3535:Portugal
3526:Słowacki
3428:Polidori
3358:Barbauld
3293:Hoffmann
3248:Brentano
3162:Bertrand
2983:Romantic
2819:Ancients
2793:Scotland
2695:Category
2678:(ballet)
2491:Ghiselle
2365:AllMusic
2348:Archived
2335:Classics
2261:(1951).
2243:(2012).
2091:Vierne,
1790:Playing,
1768:Playing,
1737:Playing,
1627:p. 31-34
1259:traits.
1240:Romantic
1119:(1888).
1016:pleurisy
1009:Chorals'
963:Ghiselle
903:Yves Nat
500:the Mass
433:libretto
218:keyboard
164:organist
156:Romantic
96:Organist
93:Composer
5145:Portals
4973:Lovejoy
4908:Abraham
4830:Richard
4820:Préault
4745:Girodet
4627:Thoreau
4572:Novalis
4557:Mazzini
4552:Maistre
4527:Hazlitt
4512:Emerson
4492:Carlyle
4482:Berchet
4425:Berwald
4420:Bennett
4389:Hristić
4343:Medtner
4323:Borodin
4313:Arensky
4236:Rossini
4211:Bellini
4190:Joachim
4163:Hungary
4144:Strauss
4072:Germany
4038:Berlioz
4007:Voříšek
4002:Smetana
3980:Czechia
3934:Austria
3867:Maturin
3862:Manzoni
3837:Heliade
3812:Foscolo
3782:Alfieri
3777:Abovian
3731:Emerson
3690:Pushkin
3629:Bécquer
3562:Garrett
3516:Potocki
3463:Southey
3423:Maturin
3393:Carlyle
3350:Britain
3323:Novalis
3278:Gutzkow
3226:Germany
3192:Mérimée
3177:Gautier
3104:Barreto
3099:Azevedo
3079:Alencar
3059:Writers
2978:Byronic
2914:Purismo
2768:Germany
2750:Denmark
2401:YouTube
2390:YouTube
2314:at the
2304:in the
2298:(IMSLP)
2294:at the
2273:(1949)
2265:Trans.
2119:Sources
2110:Toward,
2108:Smith,
2099:, p. 24
2071:Toward,
2069:Smith,
1766:Smith,
1735:Smith,
1625:Toward,
1623:Smith,
1488:, p. 62
990:Nemours
883:Quintet
813:Quintet
652:, Paris
413:Orléans
308:solfège
291:Germany
214:chamber
160:pianist
99:Pianist
4998:Wellek
4978:de Man
4963:Janion
4953:Ferber
4928:Berlin
4923:Beiser
4918:Barzun
4913:Abrams
4890:Wiertz
4875:Turner
4825:Révoil
4810:Palmer
4800:Martin
4795:Leutze
4770:Janmot
4730:Fuseli
4685:Church
4577:Quinet
4567:Müller
4522:Goethe
4517:Fichte
4440:Franck
4382:Serbia
4333:Glinka
4306:Russia
4292:Tausig
4287:Stolpe
4267:Chopin
4255:Poland
4216:Busoni
4180:Heller
4149:Wagner
4084:Brahms
4058:Onslow
4048:Halévy
4016:France
3997:Reicha
3987:Dvořák
3956:Mahler
3951:Hummel
3946:Czerny
3842:Isaacs
3822:Geijer
3756:Lowell
3746:Irving
3726:Cooper
3721:Bryant
3663:Russia
3598:Njegoš
3593:Kostić
3588:Jakšić
3581:Serbia
3511:Norwid
3486:Fredro
3478:Poland
3448:Seward
3338:Uhland
3328:Schwab
3318:Mörike
3308:Kleist
3263:Goethe
3258:Fouqué
3207:Nodier
3202:Nerval
3197:Musset
3149:France
3139:Varela
3134:Taunay
3119:Macedo
3067:Brazil
3017:Ossian
2944:Themes
2783:Poland
2778:Norway
2760:France
2469:Operas
2277:
2251:
2233:
2218:
2182:
2156:
2138:
2097:Toward
1723:966717
1721:
1713:
1371:, and
1296:Legacy
1269:Prière
973:Psyché
930:Psyché
907:Vallas
762:, and
672:, and
524:Bach's
423:under
397:Weimar
216:, and
5084:Bacon
4993:Rosen
4988:Ricks
4983:Nancy
4943:Blume
4938:Bloom
4860:Stroy
4845:Saleh
4840:Runge
4790:Lampi
4775:Jones
4765:Hayez
4700:Corot
4665:Blake
4632:Tieck
4622:Staël
4547:Larra
4532:Hegel
4487:Burke
4445:Grieg
4435:Field
4430:Elgar
4413:Other
4246:Verdi
4204:Italy
4195:Liszt
4185:Hubay
4170:Erkel
4154:Weber
4139:Spohr
4099:Loewe
4089:Bruch
4053:Méhul
4043:Fauré
4033:Auber
4028:Alkan
3887:Raffi
3857:Mácha
3847:Lenau
3797:Botev
3770:Other
3622:Spain
3557:Dinis
3443:Scott
3418:Keats
3398:Clare
3388:Byron
3383:Burns
3363:Blake
3348:Great
3333:Tieck
3288:Heine
3283:Hauff
3217:Vigny
3212:Staël
3172:Dumas
3094:Assis
3089:Alves
3074:Abreu
3027:Rhine
2930:Ultra
2773:Japan
2484:Hulda
2356:Naxos
2333:Decca
2112:p. xv
1792:p. 30
1770:p. 29
1739:p. 27
1719:JSTOR
1265:fugal
1101:Music
878:Hulda
393:Liszt
283:Liège
275:Liège
226:piano
171:Liège
131:Works
60:Liège
4958:Frye
4885:Ward
4880:Veit
4835:Rude
4785:Koch
4760:Gude
4755:Goya
4705:Dahl
4695:Cole
4023:Adam
3971:Wolf
3714:U.S.
3613:Zmaj
3243:Beer
3182:Hugo
3129:Reis
3109:Dias
2973:Hero
2908:Post
2869:Jena
2839:Dark
2374:IMDb
2275:ISBN
2249:ISBN
2231:ISBN
2216:ISBN
2180:ISBN
2154:ISBN
2136:ISBN
2057:2017
1711:ISSN
1655:2017
1390:and
1355:Bach
1271:and
1246:and
921:and
604:curé
487:curé
401:Ruth
252:and
224:and
183:Ruth
71:Died
46:Born
4455:Sor
4328:Cui
3761:Poe
2894:Pre
2889:Neo
2399:on
2388:on
2372:at
2363:at
2354:at
2331:at
1703:doi
1699:131
1069:.
946:."
502:or
297:or
5183::
5110:←
2411:.
2160:.
2048:.
1717:.
1709:.
1697:.
1693:.
1681:^
1641:.
1451:^
1367:,
1093:,
1061:,
1057:,
1053:,
1049:,
925:"
905:.
758:,
754:,
750:,
668:,
593:,
476:.
256:.
248:,
244:,
240:,
236:,
232:,
212:,
189:.
162:,
62:,
5147::
5123:→
2728:e
2721:t
2714:v
2445:e
2438:t
2431:v
2255:.
2237:.
2222:.
2188:.
2144:.
2059:.
1725:.
1705::
1657:.
1308:.
1225:.
1037:.
145:(
54:)
50:(
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