Franck: Rédemption (1871)

César Franck's cantata Rédemption is a compelling fusion of opera, tone poem, and oratorio. Franck coined the term "poème-symphonie" to describe this hybrid work, in which choral parts and solo arias are interspersed with spoken recitative, and which includes a purely orchestral section, the morceau symphonique, which is often performed independently as a symphonic poem.

In 1871, while working on Les Beatitudes, Franck encountered Edouard Blau's "National Oath," which linked France's recent misfortunes after the 1870 war to divine retribution for collective sins. The story's narrative of paganism enlightened by Christianity, then corrupted by unbelief and finally redeemed by prayer struck a chord with Franck. Rédemption was composed with passion and speed, and premiered on Maundy Thursday in 1873. Franck's musical language is sophisticated, oscillating between serenity and ecstasy, enriched by his distinctive and chromatic harmonies.

The work represents Franck at his most ambitious, but his lack of literary judgment results in mawkish sentimentality and leaden exhortations typical of 19th-century quasi-religious prose. Nevertheless, this is the rare case where one can ignore the words and simply enjoy an hour of mostly very high quality music.

The treasure lies in the 30-minute first act, which features a bucolic opening with horn and clarinet solos, lush string orchestration, and a subsequent chorus with dramatic choral and symphonic elements. The gorgeous soprano solo, interactions between the choir of angels and earthly humans, and the final choral number create a seamless flow with a variety of moods. The nearly 15-minute Morceau interlude, a purely orchestral piece with blazing horns, adds both tenderness and Wagnerian heft.

However, the 45-minute second act, which includes moments of serenity and devotion, falls somewhat short of the dynamic first act. Musically, Rédemption reflects a pivotal Wagner-influenced period in French music. Franck successfully synthesized the best of French tradition and Wagnerian idiom, emphasizing the spirit of Wagnerian harmony rather than its literal elements. This harmony, which features chromatic sequences on a solid tonal foundation, forms the distinctive melodic language characteristic of César Franck.

PREMIÈRE PARTIE
00:06 Introduction
03:28 Choeur Terrestre
11:05 Récit et Choeur des Anges
15:23 Choeur, Récit et Air de L'Archange
25:00 Choeur General
DEUXIÈME PARTIE
29:21 Morceau Symphonique
42:19 Choeur D'Hommes
48:56 Choeur des Anges
54:13 Air de L'Archange
1:01:27 Choeur Général

Listen to: Radio Philharmonic Orchestra and Netherlands Radio Choir; James Gaffigan, conductor; Julie Boulianne, soprano; Sébastien Dutrieux, narrator:




Choral Masterworks