César 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: https://app.tonebase.co/piano/courses...
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