Views And Reviews: Two Works By Franck
Paul Serotksy introduces two works by Franck, a man who was humble to a fault.
This note was written to introduce part of a concert given by the Vancouver Symphony Orchestra.
Franck (1822-1890):
Symphonic Poem “Le Chasseur Maudit” (The Accursed Huntsman)
Symphonic Variations for Piano and Orchestra
A teacher whose sniggering pupils call him “Pater Seraphicus” is a buffoon. Franck’s pupils called him that – but they didn’t snigger. Other than wowing them at Sainte-Clotilde’s with his brilliant organ extemporisations, Franck was humble to a fault, even – as the nickname implies – saintly. Not for him the limelight: his students he happily helped, and his creativity he sublimated merely on manuscript – just as well because, as it happened, “Joe Public” just wasn’t interested.
How, then, did he come to divert the tide of French music from its prevalent, stifling “opera-mania”, opening the path that Debussy and Messiaen would tread? The answer lay in his pupils. Like fishes, many came and went but some – being both talented and sympathetic – took his bait. Unlike their “Pater”, young disciples such as D’Indy, Chausson and Vierne were fired by desire to spread the gospel.
For one so devout, “The Accursed Huntsman” seems a strange source of inspiration. Yet, for all its lurid devilry, this is a parable. Franck’s symphonic poem (1882), scored with rather more relish than pious propriety permits, pans out thus:
1. Sunday. Ignoring the call of bells and congregation, the huntsman prepares for sport.
2. The chase is on! The sinful, blinkered rider ignores the pleas of the faithful.
3. His horse becomes rooted to the spot, his horn no longer blows. He is cursed, forever to be the quarry of the Devil and his demons (Franck’s sundry unsavoury sounds must be heard to be believed!).
4. Oblivious to the irony, he’s off like a frightened rabbit, the hounds of Hell snapping at his heels.
Sunday sportsmen, you have been warned. Actually, this sounds like film music. Somebody really ought to make a film of it.
What I believe was the inspiration behind the Symphonic Variations (1885) could hardly be more contrasted. Franck’s bipartite theme, on stern strings answered by pacifying piano, sounds suspiciously similar to the central movement of Beethoven’s Fourth Piano Concerto. However, it doesn’t stay like that! Through at least fifteen organically-evolving variations (don’t even try to count), Franck appears to nod to numerous “acquaintances”: Saint-Saëns, Chopin, Liszt, and even – in anticipation! – Rachmaninov. Measure his genius by his ingenious finale: it sounds like two brand-new tunes – a classic Franck romantic roulade, and sparkling champagne. Cheers!
© Paul Serotsky
