César Franck is an important composer from the latter half of the nineteenth century, particularly in the realms of symphonic, chamber, organ and piano music. His stage works were uniformly unsuccessful, though his choral compositions fared somewhat better. Born in Liège (in the French region which in 1830 became part of a new state, Belgium), on December 10, 1822, he led a group of young composers, among them d'Indy, Duparc, and Dukas, who found much to admire in his highly individual post-Romantic style, with its rich, innovative harmonies, sometimes terse melodies, and skilled contrapuntal writing. This group, sometimes known as "la bande à Franck," steered French composition toward symphonic and chamber music, finally breaking the stranglehold of the more conservative opera over French music. Franck was a keyboard player of extraordinary ability who had a short stint as a touring piano virtuoso before moving to Paris and throwing himself into musical studies. In addition, he was an organist at several major churches during his career, and his skills on the organ accounted in great part for his compositional interest in that instrument; his organ compositions stand at the apex of the Romantic organ repertoire. Franck was a man of strong religious convictions throughout his life, which often motivated him to compose works based on biblical texts or on other church sources. For much of his life he was organist at the Paris churches of St.-Jean-St. François and then Ste.-Clothilde, and in 1872 he became a professor at the Paris Conservatoire. Individual and instantly recognizable though his music was, it owes a debt to Liszt and Wagner, especially to the latter's Tristan und Isolde and several other late works. He tended to use rather quick modulations, another inheritance from Wagner, and shifting harmonies. There is a Germanic ponderousness in some of his compositions; consider, for example, the opening of the Symphony in D minor of 1888, probably Franck's most famous composition. In this work, one hears a mixture of paradoxical elements so typical of the composer: for example, moments of peace and serenity barely conceal an undercurrent of disquiet. In this symphony, Franck, adapts the Lisztian-Wagnerian predilection toward cyclical structure and melodic motto to an abstract symphonic form. Another characteristic of Franck's music is extended homophonic writing, as exemplified in his choral symphonic poem Psyché. Franck died in Paris on November 8, 1890. By the turn of the century he had become the leading figure associated with the "Old School" in France, while Debussy came to represent the "progressive" forces.