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Franck's 'Prelude, Chorale and Fugue' | Analysis for Performers with Johnandrew Slominski
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What do you get when you cross Bach and Wagner? The answer is César Franck!
Franck was born on the very day Beethoven finished his 9th Symphony, so perhaps he was predestined to develop a close relationship with music of the past. As Johnandrew Slominski reveals, the Prelude from Franck's signature 'Prelude, Chorale and Fugue' follows an arpeggiated voice-leading pattern that could have been ripped from Bach's figuration preludes in the first book of the Well-Tempered Clavier, except that it employs late-romantic harmonies reminiscent of Wagner. Inside the moody first few bars of the Prelude lies a motive that ends up unifying the entire work: a "Kreuz," or "cross" motive that resembles Bach's musical signature.
To watch Slominski's extended analysis of Franck's complete Prelude, Chorale and Fugue, click here:
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Franck was born on the very day Beethoven finished his 9th Symphony, so perhaps he was predestined to develop a close relationship with music of the past. As Johnandrew Slominski reveals, the Prelude from Franck's signature 'Prelude, Chorale and Fugue' follows an arpeggiated voice-leading pattern that could have been ripped from Bach's figuration preludes in the first book of the Well-Tempered Clavier, except that it employs late-romantic harmonies reminiscent of Wagner. Inside the moody first few bars of the Prelude lies a motive that ends up unifying the entire work: a "Kreuz," or "cross" motive that resembles Bach's musical signature.
To watch Slominski's extended analysis of Franck's complete Prelude, Chorale and Fugue, click here:
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Prélude, Choral et Fugue, FWV 21 - César Franck - (Murray Perahia)
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Prelude, Choral and Fugue
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Prelude, Chorale and Fugue, FWV 21: Prelude
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Prélude, choral et fugue, FWV 21: Choral -
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Prélude, choral et fugue, FWV 21: Prélude
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