Trois Pièces by César Franck – a cognitive study, part 2
Journal Title: Notes Muzyczny - Year 2017, Vol 1, Issue 7
Abstract
The source on which this two-part article was based is the author’s Master’s Thesis of the same title written under the supervision of Prof. Piotr Grajter in 2015. The subject discussed in the article is theoretical information: Franck’s composition style and selected problems and performance suggestions as to registration, tempo, articulation, fingering, pedalisation and ornamentation in the pieces being part of the cycle, which, as the author believes, will facilitate the understanding of Frank’s musical language and help organists perform the works. Franck’s composition style is generally described as symphonic and its final form is a combination of many different sources: knowledge of French organ music which the composer acquired during his studies, love for classical forms typical of the Netherlands, reference to polyphonic developments, composition studies with Anton Reicha and fascintion with symphony orchestra. Utilising the capacities of the romantic symphonic organ built by Cavaillé Coll, César Franck used orchestra registers in his works. During the premiere performance in Trocadéro, he had at his disposal a 4-manual instrument, later on he adapted his composition to 3-manual instruments (Sainte-Clotilde church organ). César Franck did not leave any metro-rhytmic signnatures, only specifying the tempo and character, hence numerous doubts arose as to how his works should be performed. Two main traditions of Franck’s organ music interpretation have been shaped. The first tradition comes from Charles Tournemire and the second one from Alexandre Guilmant. In comparison to the earlier cycle, Six Pièces, with very few articulation signatures, in Trois Pièces we can notice that the composer paid more attention to shaping phrases, building tensions and creating contrasts, and for that the articulation signatures he used were more precise. The scores of Trois Pièces include no suggestions as to fingering. However, we can find valuable information about the fingering principles used by Franck in his piano pieces and preserved Braille transcriptions of selected Bach’s works. Franck understood the function of the pedal part in a wider context and did not only treat it as a simple bass line or harmony basis.<br/><br/>
Authors and Affiliations
Sebastian Bączkowski
Keywords
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