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Franck's Music Elevated by the Piano

Hexameron | 06/05/2007

(5 out of 5 stars)

"The name Cesar Franck would most likely be listed alongside Widor and Lefebure-Wely, who are some of the great organist-composers of the 19th century. Although in his youth, Franck wrote some outstanding virtuoso pieces and miniatures for the piano. For those early piano works, check out these recordings: Franck: Music for Piano and Piano Duos for Four Hands. But as the liner-notes point out, "from 1846 to 1884 he wrote almost nothing for the instrument..." It's perplexing, but thankfully a handful of transcribers have made his organ works sound like original, sonorous and engrossing piano compositions. Such transcriptions are featured on this disc, and most are world-premiere recordings.



Harold Bauer's transcription of the "Prelude, fugue et variation," was such a success that Emile Bosquet, of the Musique de clavier, said: "the original work for piano and harmonium was less effective than this excellent arrangement." Indeed, this is an exceptional and totally faithful adaptation of the original music to the world of piano tone. The music itself is Franck's finest, full of the highest degree of beauty and expressive power. Bauer's efforts with the Pastorale Op. 19 are also worthy. The Andantino first section sounds like no other piano music with its organ-like bass harmonies and mystical melodies. Another excellent transcriber is Jacques Durand, the son of Franck's main publisher of organ works, who shows surprising care and craft with the transcription of the Piece heroique. This first piece from the Three Chorals is full-blooded Romantic music, notable for its lyrical arpeggios and high melodic profile. It sounds quite Brahmsian at times, especially in the central section. J. Jemain was assigned with transcribing some of Franck's organ works and gives us a lovely Cantabile. The mood of this piece is of quietude and beautiful yearning. One of the recurring melodic fragments sounds like something out of the Adagio (second movement) from Brahms's First Piano Concerto. This piece fits so well to the piano, and there's no need to compare it with the original organ version.



The two Fantasies recorded here are the most lengthy (both surpassing 12 minutes) and are supremely marvelous creations. Franck's outpouring of ideas and the multiple themes suggest that these works are an example of Franck's improvisation. Both Fantasies are almost sectional: Franck works through one series of ideas and then, inspired by specific motifs, starts a new departure. These Fantasies start wonderfully simple, but once Franck moves deeper, he uncovers moments of profundity and Bach-like spirituality. Each Fantasy moves forward with such seamlessness that the music seems like an ongoing meditation, with occasional violent outbursts. In the middle of the Second Fantasy, for instance, there are turbulent moments that reach hair-raising percussive explosions, thanks to the piano. Since these Fantasies exude a complete improvisatory nature, perhaps the liner-notes speak better than I: "All witnesses are in agreement: Franck's improvisations were the work of an architect with almost superhuman powers, unspoiled by a single unnecessary note or effect."



Bottom line: There are numerous recordings of the more famous piano transcriptions of Franck, and I would recall Stephen Hough and Alexander Paley: César Franck: Piano Music and Franck Piano Transcriptions: Violin Sonata; Pastorale. But Michael Frohnmeyer is just as commendable for his phenomenal virtuosity and melting lyricism. Beyond that, the present recording is the only one I am aware of that contains the two Fantasies, in addition to the rare Final and the Cantabile. Franck fans rejoice; Franck novices explore these treasures immediately."