were anxious to study orchestral composition without passing through the Conservatoire, where no attention was paid to the symphonic style, care being only given to operatic composition. By his serious character both as a man and an artist, and by the weight of his learning and the lofty style of his works, Franck seemed especially fitted to hold a position then little sought after, and thus by degrees he acquired great influence over his disciples, initiating them into the musical life, and encouraging them by example and advice. This position has greatly enlarged Franck's sphere of influence during the last fifteen years, and the French government has recognized his services and his merits by conferring upon him in August 1885, the title of Chevalier of the Légion d'honneur.
Franck's compositions, none of which have been produced on the stage, are too many to enumerate. His chief works are the four oratorios: 'Ruth,' composed 1845, produced 1846, recast and edited 1868, and revived at the Cirque d'été in 1871, and at the Concerts du Conservatoire in Feb. 1872; 'Rédemption,' composed 1872, produced at the Concert Spirituel at the Odéon, on Holy Thursday, 1873; 'Rébecca' and 'Les Beatitudes,' both written in 1879, fragments of which have been executed at various concerts. He has also composed two operas, 'Le Valet de Ferine,' written in 1848 for the Opéra National, then under the direction of Adolphe Adam, and 'Hulda,' finished in 1885, selections from which have been heard at concerts in Paris and Antwerp. The following are also worthy of mention: 'Les Éolides' and 'Le Chasseur maudit' (after Bürger's legend), both for orchestra; 'Les Djinns' and 'Variations Symphoniques,' both for piano and orchestra; an important collection of organ pieces, offertoires and chants d'église; trios and a quintet for piano and strings, a prelude, chorale, and fugue for piano solo, a mass and several motets, various songs, and recently a sonata for piano and violin. Loftiness of thought, great regard to purity of form, and natural richness of development, characterize his works; unfortunately his creative power is not equal to his scientific knowledge, and he is often wanting in the freshness of inspiration which is found in 'Ruth,' his most poetical and pleasing composition. His works are nevertheless those of one who may be depended upon for elegance and for interesting combinations, and who has more than once, by force of will and learning, succeeded in attaining the high ideal which he has always had in view. (Died Nov. 1890.)
FRANCO, Magister (Franco de Colonia; Franco Leodiensis; Franco Parisiensis; Franco of Cologne; Franco of Liège; Franco of Paris.)
Though the claim of Magister Franco to the honour of having written the earliest known dissertation upon Measured Music has been very generally admitted, the confusion which prevails with regard to his personal identity has been increased rather than diminished by the endeavours of successive historians to set the question at rest. If we are to accept the contradictory theories that have been handed down to us, since the times of Burney and Hawkins, we shall find it impossible to avoid the conclusion; either, that three distinct Francos flourished at different epochs, in Cologne, Liége, and Paris; or, that a certain Magister Franco held scholastic appointments in those three cities, at impossibly distant dates.
The chief source of uncertainty is, the very grave doubt as to whether the writer of the famous musical tracts is, or is not, identical with a certain philosopher, named Franco, who was equally celebrated, in the 11th century, for his knowledge of Mathematics, Alchemy, Judicial Astrology, and Magic.
Sigebertus Gemblacensis,[1] who died in 1113, tells us that this learned writer dedicated a tract, 'De Quadrature Circuli,' to Herimanus, Archbishop of Cologne; and, as this Prelate died in February, 1055, the work must have been completed before that date. Trithemius[2] attributes this same tract, 'De Quadratura Circuli,' together with another, 'De Computo Ecclesiastico, et alia plura,[3] to Franco, Scholasticus Leodiensis Ecclesiae; who, he says, flourished under the Emperor, Henry III, about the year 1060, though there is evidence, of another kind, to prove that Franco continued in office at Liege, at least until the year of 1083.
The authors of the 'Histoire Littéraire de la France'[4] assure us that this Scholastic of Liége was the author of the tract 'De Musica Mensurabili.'
But, in direct opposition to this, Kiesewetter[5] brings forward evidence enough to satisfy himself, at least, that the tracts on Measured Music were neither written by the Alchemist and Magician of Cologne, nor, by the Scholastic of Liege, but, by some other Franco, who flourished not less than 130 or 150 years later—i.e. towards the close of the 12th century. This opinion—in which it is only fair to say that he is followed by De Coussemaker, Von Winterfeld, and Perne—rests, however, upon no stronger ground than the supposition that the period interposed between the writings of Guido d'Arezzo and Franco was insufficient for the development of the improved system described by the last-named master. Fétis, reasonably enough, protests against a conclusion unsupported by any sort of historical, or even traditional evidence. Kiesewetter first stated his views in the Leipziger allgem. mus. Zeitung, for 1828, Nos. 48, 49, 50. Fétis, in his Dictionary, opposed the new theory. Kiesewetter replied to the objections of Fétis, in Leipziger allgem. mus. Zeitung, for 1838, Nos. 24, 25. And, in the meantime, De Coussemaker, in his Histoire de l'Harmonie au moyen âge (pp. 144–147), suggests, somewhat confidently, that the real author of the disputed tracts was another Franco, who is known to have flourished at Dortmund, in Westphalia,
