Cesar Franck was truly the genius of improvisation.  It is said no other modern organist, not excepting the most renowned players, could hold any comparison to him in this respect.  Whether he played for the service, for his pupils or for some chosen musical guest, Franck’s improvisations were always thoughtful and full of feeling.  It was a matter of conscience to do his best always.  “And his best was a sane, noble, sublime art.”

For the next ten years Franck worked and lived the quiet life of a teacher and organist; his compositions during this time were organ pieces and church music.  But a richer inner life was the outgrowth of this period of calm, which was to blossom into new, deeper and more profoundly beautiful compositions.

One of these new works was “The Beatitudes.”  For years he had had the longing to compose a religious work on the Sermon on the Mount.  In 1869, he set to work on the poem, and when that was well under way, began to create, with great ardor, the musical setting.

In the very midst of this absorbing work came the Franco-Prussian war, and many of his pupils must enter the conflict, in one way or another.  Then early in 1872, he was appointed Professor of Organ at the Conservatoire, which was an honor he appreciated.

The same year, while occupied with the composition of the “Beatitudes,” he wrote and completed his “Oratorio of the Redemption.”  After this he devoted six years to the finishing of the “Beatitudes,” which occupied ten years of his activity, as it was completed in 1879.  A tardy recognition of his genius by the Government granted him the purple ribbon as officer of the Academy, while not until five or six years later did he receive the ribbon of a Chevalier of the Legion of Honor.

In consequence of this event his pupils and friends raised a fund to cover expenses of a concert devoted entirely to the master’s compositions.  These works were given—­conducted by Pasdeloup:  Symphonic Poem—­“Le Chasseur Maudit,” Symphonic Variations, piano and orchestra, Second Part of “Ruth.”  Part II was conducted by the composer and consisted of March and Air de Ballet, with chorus, from “Hulda” and the Third and Eighth Beatitudes.

The Franck Festival occurred January 30, 1887, and was not a very inspiring performance.  The artist pupils of the master voiced to him their disappointment that his works should not have been more worthily performed.  But he only smiled on them and comforted them with the words:  “No, no, you are too exacting, dear boys; for my part I am quite satisfied.”

No wonder his pupils called him “Father Franck,” for he was ever kind, sympathetic and tender with them all.

During the later years of Cesar Franck’s earthly existence, he produced several masterpieces.  Among them the Violin Sonata, composed for Eugene and Theophile Ysaye, the D minor Symphony, the String Quartet, the two remarkable piano pieces, Prelude, Chorale and Fugue, Prelude, Aria and Finale, and finally the Three Chorales for organ, his swan song.  His health gradually declined, due to overwork and an accident, and he passed quietly away, November 8, 1890.