22. Franck Symphony in D Minor
Pierre Monteux and the Chicago Symphony Orchestra on RCA Victor Living Stereo
“How I regret not having told César Franck of my profound admiration for him and his music.” – Conductor Pierre Monteux
The next recording in the top 50 classical recordings of all-time is a 1961 recording of Cesar Franck’s Symphony in D minor, part of the legendary RCA Victor Living Stereo series. The symphony was recorded by the Chicago Symphony Orchestra conducted by Pierre Monteux.
The Conductor
Cesar Franck (b. 1822 – d. 1890) was an important composer from the latter half of the 19th century, and particularly from the Romantic and post-Romantic periods. He was born in Liege in what is now Belgium, but lived most of his life in France and today is considered one of the leading French composers in history. Franck is particularly known for composing music for organ, piano, chamber, and orchestra. For a long time he was the organist at the Paris churches of Saint-Jean-Saint-Francois and Saint-Clothilde, and in 1872 he became a professor at the Paris Conservatoire.
Franck was an extraordinarily gifted keyboard player, and when he was young he had a brief career as a touring virtuoso. His interest in the organ became primary for him, and his compositions for organ stand as some of the finest works for that instrument. Franck was also deeply influenced in his composition by the works of Wagner and Liszt, especially in his use of complex, shifting, and innovative harmonies. This can certainly be heard in his Symphony in D minor, probably his most well-known work. Franck was one of the leading examples of the “old school” of composition in France at the time. The other school that was rising was more abstract and impressionistic, represented by such composers as Debussy and Satie. Although more traditional, Franck was pioneering in his own right with chamber music and keyboard works. One of Franck’s chamber works that stands out is his Violin Sonata in A major, perhaps Franck’s best composition and certainly one of the finest violin sonatas ever composed (a recording of which may very well appear on this list at some point).
Symphony in D minor
Written between 1886 and 1888, during the last decade of Franck’s life, the Symphony in D minor is a three-movement large scale orchestral symphony of approximately 40 minutes. Although not well-received upon its premiere, the work has since become a staple of orchestral repertoire. Late in his life, Franck became somewhat obsessed with the music of Beethoven, and his influence can be heard and understood relatively easily in the Symphony. While still maintaining his own voice with unique harmonic language and repeating themes, Franck also still deeply respected the German and Viennese classical and symphonic traditions.
The first movement begins low and slow, in an almost ominous manner, and builds by repeating the basic motif of three notes that moves down in tone slightly, but then continues to move up gradually until it reaches a cathartic climax played fortissimo (very strongly) complete with whiplash brass chords responding to the motif. After some other variations, Franck then returns again to the same building motif from the introduction, this time slightly higher (in F minor). We arrive again at a very similar climax, but this time the movement develops in other directions to resolve. This same motif will return again in the final movement, to wonderful effect.
The second movement Allegretto is a combination of slower, more pastoral material along with what could almost be a scherzo or a dance. The inclusion of an English horn, looked down upon by the French critics of the day, almost gives the feeling of a slow ancient dance tune. The plucking on the strings eventually gives way to more developed melodies, while the same ancient tune heard at the beginning returns transformed. The key changes from minor to major and back to minor, which has a delightful effect. This is a graceful movement, full of subtle but important variations.
The Finale is marked Allegro non troppo, and provides a striking contrast from the second movement. It begins in an exuberant manner with several whiplash chords leading to a statement of the big motif for this movement stated on cellos and bassoons. The movement takes us through the periodic return of the motifs from both the first and second movements. Eventually we arrive at a large fanfare from the brass, which is stated in a triumphant manner. Franck varies the harmonies exquisitely in this final movement, and as themes repeat it builds to a powerful and joyful conclusion.
The Recording
The French conductor Pierre Monteux (1875 – 1964) was one of the most significant and beloved figures in classical music. He became famous conducting opera, symphonic music, and ballet, and he conducted every major orchestra in the world during his long life. Born, raised, and trained in Paris he first made his mark as the conductor for Diaghilev’s Ballets Russes, and he is famous for presiding over the world premieres of ballets such as Stravinsky’s Petrouchka and Le Sacre du Printemps (The Rite of Spring), Ravel’s Daphnis et Chloe and Debussy’s Jeux between 1911-1914. Thereafter, he went to the United States and conducted the Metropolitan Opera for two seasons, then the Boston Symphony Orchestra for five seasons. After another 12 years in Europe, Monteux returned to the United States to be the conductor of the San Francisco Symphony Orchestra. Later he would accept the directorship of the London Symphony Orchestra at the age of 86. A mentor and teacher to many musicians throughout his life, he founded the Ecole Monteux in Paris in 1932 to foster young talent, as well as the Pierre Monteux School for musicians in Maine in 1943. Monteux lived at a time when he knew many renowned conductors personally, including Stravinsky, Ravel, Franck, and Debussy. Unlike many conductors, Monteux was not only loved and revered by audiences, but also by the musicians he led and colleagues alike.
Monteux recorded frequently once the technology allowed it, and many of his recordings have won critical and popular acclaim. His recordings of Ravel, Stravinsky, Debussy, Berlioz, Elgar, and Brahms are widely acclaimed and respected. This recording of the Franck Symphony in D minor is not only the finest recording of this symphony, but among the greatest recordings of any music to be made. This is a cherished performance and recording.
First, Monteux had the Chicago Symphony Orchestra at his disposal and was a guest conductor for this recording. At the time, the Chicago Symphony was under the direction of legendary and notorious conductor Fritz Reiner. Reiner took the Chicago Symphony Orchestra from a good orchestra to a truly great orchestra, one of the best in the world. But Monteux was no stranger to the CSO, having conducted them almost every summer at the Ravinia Festival outside Chicago from 1941 on.
Second, Monteux simply loved the music of Cesar Franck and was among the best conductors of French music to be found anywhere. During the recording sessions, Monteux did not use a score in front of him because he knew it so well. He told the musicians, “Don’t force, just play. But full tone!”
RCA Victor had introduced the “Living Stereo” series in 1958 due to the advent of stereophonic technology and innovations in playback equipment. The setup took full advantage of Chicago’s famous brass section, as well as the acoustics of the hall. The placement of microphones shows the orchestra up-close, so you almost feel as if you are in the middle of the sound. It is a rather “in your face” sound reproduction, which I happen to like but I realize not all listeners will feel the same. There is almost a visceral feel to the sound, with a touch of roughness around the edges, and to me that just adds to what I love about the recording. What I like is how Monteux pushes forward aggressively in dramatic fashion when called for, but pulls back thoughtfully when appropriate. Monteux draws ravishing playing from the Chicago musicians, and the elegant phrasing especially in the second movement Allegretto is terrific. Monteux takes a work that is a good piece of music, and makes it great.
This recording is paired with another of Monteux’s finest recordings, Stravinsky’s ballet Petrouchka recorded in 1959 with the Boston Symphony Orchestra. A very different kind of work than the Franck symphony, Monteux conducted the premiere of Petrouchka in Paris in 1911. Stravinsky was so pleased with Monteux’s conducting of the score, it began a collaboration between the two men that would last half a century. Over forty years after the premiere, Monteux would record the ballet for RCA with the Boston Symphony Orchestra, the recording included here. Although I will not go into depth on Petrouchka here, Stravinsky will appear later on our list. Suffice it to say this is an authoritative recording, if not quite as definitive as the Franck, but Monteux brings out all the color and character in the score.
In terms of the Franck, there are a few other very good performances of the Symphony in D minor to check out as well:
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The Boston Symphony Orchestra conducted by Charles Munch also on RCA, recorded in stereo in 1957, delivers a taut, driven, brightly recorded, and satisfying reading that contains a lot of excitement if a bit short on subtlety. This is a close second to the Monteux recording.
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The Orchestre Symphonique de Montreal led by Charles Dutoit on the Decca label, recorded in 1989. The rich Decca sound from Montreal is on display here, and Dutoit shows a wonderful feeling for Franck. While perhaps not as riveting or hyper as the Monteux or Munch, this is still a very fine performance catching the Montrealers and Dutoit at the height of their years recording for Decca.
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Notes:
Brennan, Gerald. Johnston, Blair. Schrott, Allen. Woodstra, Chris. All Music Guide to Classical Music, The Definitive Guide. All Media Guide. Pp. 462-464. Backbeat Books, San Francisco. 2005.
Dettmer, Roger. Pierre Monteux. Chicago American. RCA Victor Living Stereo liner notes, Cesar Franck Symphony, Chicago Symphony, Pierre Monteux. Pp. 4-5. 1960.
Frankenstein, Alfred. Stravinsky Petrouchka, Boston Symphony Orchestra, Pierre Monteux. San Francisco Chronicle. RCA Victor Living Stereo liner notes. Pp. 6-8. 1960.