Though Franck’s list of works is small compared with those of some of his fellow-composers, he touched every field of serious music and left the impress of his powerful individuality. _Les Béatitudes_ (‘The Beatitudes’) is probably his finest work, though, after hearing his noble D minor symphony or his striking piano quintet, one is reluctant to pass over either of these superb creations in naming Franck’s masterpiece. He wrote five large choral works, though, in common with other French composers, he seldom used the title ‘oratorio.’ The first one in oratorio-form was ‘Ruth and Boaz,’ written in 1845, which he designates _Églogue biblique_ and in which he is evidently struggling for new harmonic effects, although he had not yet found the idiom which characterizes his later works. He follows the form of French oratorios of this period, which were usually short, possibly because this temperamental nation was not inclined to hear a long religious work which, without any dramatic action, would occupy a whole evening. The naïveté and simplicity of this youthful work won much admiration when it was first performed at the Conservatoire at Paris on January 4, 1846. The picturesque orchestral prelude, the chorus of Moabites, Ruth’s beautiful aria in the first part, the duet between Ruth and Boaz in the second part, the charming and original chorus of reapers with its suggestion of an old French folk-song--these are some of the beauties of this simple sacred idyl. _La Rédemption_, which the composer calls a _poème symphonique_, was finished Nov. 7, 1872, and was first performed at the Concert National on April 10, 1873, under the direction of Colonne. Franck’s mysticism becomes more apparent in this work. While it is by no means on a level with the ‘Beatitudes,’ such passages as the angels’ choruses, the arias of the archangel, the music expressing the joy of mankind at Christ’s advent, reveal the tender grace and purity of Franck’s inspirations. _Rébecca_, a Biblical idyl (_scène biblique_) on a poem by Paul Collin, dates from 1881, and is written in the simple style of his earlier ‘Ruth.’ An Oriental atmosphere pervades the work and gives color to its harmonies and modulations, as witness the opening chorus and the picturesque chorus of camel-drivers. In _Psyché_ Franck reaches his mature style. Written in 1887-88 and first performed at the _Concerts du Châtelet_ under Colonne, Feb. 23, 1890, this quite lengthy work possesses many passages of ravishing beauty and elusive charm--such as the _Sommeil de Psyché_, a prelude ‘full of mysterious language,’ and the music accompanying the scene where Psyché reposes among the flowers.