perhaps, added more
genuinely new words to our vocabulary than any one since Wagner. The
basis of Franck's harmony is the novel use of the so-called augmented
harmonies which, in their derivation, are chromatically altered
chords. These are resolved by Franck in a manner remarkably free, and
are often submitted to still further chromatic change. In revealing
new possibilities he has, in fact, done for these chords what Wagner
did for the chord of the ninth. Any page of Franck's music will
exemplify this statement, and as an illustration we have cited, in the
Supplement, the first part of the Prelude in E major. A life-long
student of Bach and Beethoven, Franck believed--as a cardinal
principle--that great ideas were not enough; they must be welded
together with inexorable logic. And so his chief glory as a musical
architect is the free use he makes of such organic forms as the Canon,
the Fugue and the Varied Air. Franck was likewise a pioneer in
establishing in a sonata or symphony a new conception as to the
relationship of the movements. This he effected by the use of what may
be called "generative motives" which, announced in the first movement
of a work, are found with organic growth, modulatory and rhythmic, in
all the succeeding portions. Such a method of gaining unity had been
hinted at by Beethoven in his Fifth Symphony, was further developed by
Schumann and Liszt and, since the example of Franck, has become a
recognized principle in all large cyclic works. The following estimate
of his music by F. Baldensperger is worthy of citation. "The
contemplative character of Franck's music which explains his entire
technique is rare at the epoch in which his life was cast, an epoch of
realism, generally inspired by a taste for the picturesque and the
dramatic. Posterity will place Cesar Franck in a niche similar to that
of Puvis de Chavannes, whose inspiration, indifferent to all worldly
solicitations, flowed willingly, like that of Franck, into the paths
of reverie, and pursued its way like a beautiful river of quiet
waters, undisturbed by waves or rapids, and reflecting the eternal
calm of the sky."

As representative works[273] we have chosen, for analytical comments
the _D minor Symphony_ (Franck's only work in this field), the
_Sonata_ for violin and pianoforte and the _Symphonic Variations_ for
pianoforte and orchestra. Franck has also composed a very beautiful
Quintet for strings and pianoforte--considered by some