Abstract
After Beethoven’s compositional achievements, particularly those of his late period, nineteenth-century composers drew on his ideas in many different ways. The harmonic language of music darkened considerably in the nineteenth century, with strong chromaticism becoming prevalent and Wagner’s influence being felt throughout the Western Musical World. One way many nineteenth-century compositions were harmonically organised was with axial tonality, a system which privileges major-third relationships due to their functional equivalence. Composers from Beethoven onward were familiar with such organisational principles, and the instrumental works of César Franck make an illuminating case study in how axial tonality operates in a deeply chromatic context. This thesis examines how chromatic harmony might operate within the functional principles of tonality despite an enriched harmonic language, and what changes were necessary to formal models as a result. Seminal late-Beethovenian works are examined and their internal procedures deduced: this is discussed in relation to immanent and transcendent dominants which operate differently in each formal prototype. Works of César Franck are then examined, to deduce their harmonic language and formal procedures. Though some of Franck’s works display allegiance to Beethoven’s formal models, others have their own peculiar inner workings. These findings are discussed in relation to axial tonality, the importance of rhythm, and cyclic form, a technique closely associated with Franck.