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Prélude, Aria et Final -- César Franck
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- čas přidán 2. 02. 2015
- Prelude
Clocking in at around 10 minutes, the very title Prelude seems a bit misleading. It is, in fact, a fully-fledged sonata movement, complete with developmental fugue (!), and is the largest in scale, texture, and density of any of the movements. The opening chordal theme, marked Allegro moderato e maestoso, is warm, lush, and (somehow not conflictingly), march-like. Here and throughout one hears organ textures aplenty-thick, chordal writing is standard, but it is always rich with counterpoint. Additionally, the formal proportions are quite clear-a cadential trill and pause will mark the appearance of the second, more pensive, theme, first framed in high register (here again the organ’s antiphonal facility is invoked, with soprano statements answered by mellower treble/bass statements). The first truly turbulent music will be seen prior to another clear break which precipitates the development, which itself begins with a dark, severe and jagged fugue subject (an unorthodox subject in octaves). This slow-burn fugue will reach a violent outcry, which is suddenly assuaged by the most luminous, cantabile melody, carried downward by a rippling undercurrent. The recapitulation is again framed clearly, and will arrive in a most sublime way at the coda (for those interested in harmony, one of the most beautiful and unexpected modulations occurs here, when Franck introduces by deft slight-of-hand, the Neapolitan key).
Aria
As its title suggests, this is a cantabile movement whose inspiration is most likely domestic/secular, but it often approximates in texture the Chorale movement of Franck’s other, more well-known work for piano (the Prelude, Chorale and Fugue). Things often occur in threes in Franck’s music, and this movement is a good example-after the improvisatory introduction, Franck gives three melodic cells; the first is child-like, simple, and seems to have the contour of a cradle song. The second is closely related, but intimates by its harmonic complexion more troubled inner impulses. The third melody is truly “Franckian”; the most chromatic, and with Wagnerian harmonies underneath. When each melody appears it is stated twice-once in the soprano and then in the bass-and throughout the movement this happens twice (for a total of six). Franck’s reliance on this scheme verges on dangerous-one further statement could weary the listener. In fact, it may be an intentional red herring-the very opening (and closing) melody, in high relief atop a swath of arpeggios, will prove to be a much more important component of the whole work (this is seen in Finale).
Finale
This is one of the truly virtuosic, exciting Romantic finales (and remains, along with its two preceding companions, undeservedly under-played). The opening chromatic rumble will be recognized as a counter-subject in the dark fugal development of the Prelude-here it is a theme in its own right, and one of malevolent intentions. Its harmonic twisting and side-stepping is nearly exhausting, and is only supplanted by the most heroic impulses of the second theme whose march-like chords reach the physical extremities of the keyboard. This theme will be framed again under a shimmering, joyful right hand just prior to the development. Franck’s love of cyclical music (if not clear from the Finale’s outset) is certainly obvious around the middle of the development-after the opening rumbling theme, the Aria’s childlike theme appears, almost celestial amidst a constellation of arpeggios. But it is the moment of the coda’s onset which is perhaps the most exhilarating cyclic achievement in the entire work-here, over a thundering torrent of octaves in the bass, the opening maestoso theme of the Prelude appears triumphantly. Immediately following is a passage of sublime beauty-Franck has wedded this theme (the Prelude’s opening) to the first theme of the Aria in an opalescent couching of arpeggios. This is at once recognized as the moment of complete cyclical consummation-all themes have been brought together. Listeners will be struck at the optimistic, patient way Franck achieves this; where the cyclical point of the Prelude, Chorale and Fugue is certainly on a more thunderous, epic scale, the one seen here is quietly understated, and is allowed to play out and deliquesce with a graceful tranquility.
0:03 - Prélude
10:00 - Aria
15:48 - Final
Plus étiré que "prélude, choral et fugue" ça me donne une idée du génie modeste qui improvisait sur l'orgue de Sainte-Clotilde et traversait Paris dans le froid pour donner ses leçons, mais en même temps conscient de son génie. Une musique inspirée notamment par la marche. Comme, aussi, Brahms.
C'est pas tout ce commentaire... j'aime trop !
Passion, freedom, long line, and fascinating inner voices! Hofmann would approve!
Beautiful playing of this wonderful composition.
Incredibly beautiful music!! Masterful. Love it and love the piano playing!!
fantastic performance...demonstrates their deep knowledge of the Work and personality of César Franck
Excellent performance! And a beautifully written guide, too. Your love for this masterpiece shines through in both.
Thank you!
Perfectly performed. Chapeau
great interpretation and great text to it as well.
Enjoyed this piece and performance so much, really brilliant and beautiful playing. bravo and thank you for this!
Thank you! :)
a prelude consists of a sonata and a fugue? unbelievable! awesome piece 👏👏
Jaegone Kim Krimi
Vibrant perfection seems to be C. Franck's trademark!
An emotionally and technically labyrinthine work which you play with great understanding and sensitivity. Kudos!
Thank you!!! :)
BRAVI!!!!
One is in trouble with this piece if your hands don't stretch a 10th.
14:58 that chord kills me
S²6⁵
This melody returns 21:10 .
Sublime.
So musical!!! Congratulations!
Hermoso y poderoso!
Demuth in his book “Cesar Franck” says in regard to 1st mvt: “Cortot refers to the first section as Exposition and the second as the Secondary theme, but there are two clearly defined themes in the first section…. What can be said of the third [and final] section which opens with NEW MATERIAL and does nothing to extend what we have already heard?” My thoughts: The 3rd section is the part that starts with what Mr. Armstrong calls a fugue, but is not really a fugue since the subject is always repeated in the same key. This section does nothing to develop the prior material and so how can it be thought of as containing the development section? Demuth suggests calling the 1st mvt a “Free Fantasia”. Still - a wonderful performance by Mr. Armstrong.
Wonderful performance!! I love seeing so much Franck on your channel, especially with the 200th anniversary of his birth coming this year (12/10/2022)! Your playing of the 1st 4 measures of prelude (for example)sounds so smooth. It sounds like all the notes are there. Do you have extra large hands? My recording of Ciccolini playing (EMI label) sounds not nearly as nice, as if he is struggling with the chords. Also, I'm struggling to see the first mvt as being in sonata allegro form: exposition, development, recap, coda Do you have an independent source that shows this piece as being in sonata allegro form? Thanks.
Thanks for an excellent recording. I suspect I'm in a minority but I slightly prefer this piece to the P,C&F.
Son do I ,almost ashamed as the pc and f is so wonderful but this is even more profond if it,s possible !!
@@helenparrott2613 Good to know I'm not alone! But both are wonderful, as you say.
Beautiful performance (and "liner notes"). Where did you record this, and on what piano?
+StoneChords Thanks! This is a live performance from the University of Toronto's Walter Hall on the 'McConica' Steinway (NY Steinway D).
+Asher Ian Armstrong Great sounding instrument (must be a joy to play!) and -- from what my computer speakers convey -- excellent fidelity recording. Not to geek out, but I wonder what mics were used, and what placement -- whether combo of close-ramge with hall. Also, kudos to the audience for being so quiet! Here in NYC, where I attend dozens of concerts a year at Carnegie Hall, Lincoln Center, etc, we sadly do not have such respectful audiences, typically. Back to Franck: I've been recent;y discovering his oeuvre, having previously only really known the violin sonata and a few scattered works. I've been making my way through the Opus 18 Prelude which is painfully gorgeous. The more I explore, the more his aesthetic becomes clear: a huge affection for counterpoint, rich chordal structures, dense Romantic harmonies (a la Wagner), but with a Baroque sensibility for clean lines and rhapsodic embellishment. (Bach meets Buxtehude meets Wagner meets Brahms). Well, the work you've performed here is evident;y a neglected gem, so thanks for polishing it and giving it such a radiant show. I'm a composer, mainly -- FYI -- perhaps you'd be curious: www.johnkstone.com. Cheers from Manhattan.
Will this ever go onto a CD?
If so, could you pair it with the *Prelude, Chorale, et Fugue*?
Thanks from Seattle!
Hey Asher! I read your paper on eroticism (I'll be commenting on it in my own paper) and here you are playing it on CZcams! Despite your antagonism with Cortot, I hear a few moments that sound like what he advised in his Milan editions. Did you take them into account? Anyway, congratulations on performing such a difficult work so well. It really isn't as gratifying as the other triptych right?
Hi! Wow--you made my day! I'm honoured you've read my paper (thank you for taking the time and for connecting here--I'm flattered you plan to reference in your work). To be honest, there is a lot I appreciate about the Cortot editions, and I most definitely consulted them in studying these works--what you describe hearing is likely the case (!). Also regarding your other comment on the PCF, I haven't tried playing in 13 minutes--nowadays I am not so sure I would do the piece justice in that time-span (and have more recently wondered if Franck might have made that comment offhandedly with a bit of exaggeration to try to encourage its performance...?). And you're right--that one is probably more successful and gratifying in terms of long-term dramatic planning and impact (although I still love the moment in the PAF--around 20:30 in this video--where the opening theme enters!). Also, congratulations to you--I see you are a fellow admirer and performer of the Violin Sonata! If you might be willing, I would love to read your paper/work at some point!
All best, and hope to be in touch before too long,
Asher
@@aarmstr5 hello, i would like to read your paper too
Could u give a link?
You appear to have very large hand span. How far can you span ? The largest hands I've come across are Piers Lane - who is also a very tall person - who can take an 11th with ease. I also recall John Ogden could manage on octave on black notes without using his thumb.
Before I forget -- which publisher's sheet music is this?
At 2;52, this pianist makes the alto voice prominent. Is this 'interpretation' ? Or is it whimsical ? I only ask because it makes absolutely no sense to do this.
The first movement is not in sonata form and there is no fugue. It is more like a passacaglia but it is certainly not a fugue. You need to get your facts straight. I would further add that at 4:30, Risoluto does not mean 'suddenly Vivace.' And I could go on but my time is way too valuable.
who plays ?
Me!
Excellent play!
Thank you! :)