In score and parts, a duet in B flat major for Tenor or Soprano and Baritone with keyboard, probably organ or piano, signed and dated at the end “CFranck, ce 13 Juin 1849”, the score notated in brown ink on two systems of four staves per page, ten-stave hand-ruled paper, the baritone part written on the same paper, the tenor/soprano added on a later white paper, probably a substituted page 

The score 8 pages (31 x 23cm); the tenor and soprano parts 2 pages (34.5 x 26cm) and the baritone part 2 pages, (31 x 23cm), 13 June 1849 

Condition is described in the main body of the cataloguing, where appropriate
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UNPUBLISHED. This religious work, a setting of a prayer to the Virgin Mary, is not recorded by either Mohr or Fauquet and this manuscript would appear to be unknown. 

Like Bach, César Franck was a deeply religious man, and as with his illustrious predecessor, he expressed his faith in his music, using complicated and intricate musical techniques in the service of his creator. Thus “Sub tuum praesidium” is written more or less as a strict canon between the two voices, with canonic and contrapuntal entries in the accompaniment. It is a tour de force. As an organist and renowned teacher, Franck was evidently fascinated with techniques of counterpoint. Few of his works are without some strict contrapuntal techniques, often lightly displayed such as in the canonic finale of the Violin Sonata. The duet was composed in 1849 and is scored for Tenor and Baritone. The Tenor part is a later replacement and seems to suggest a modification of Franck’s original idea: he adds the alternative of a soprano. The part is also written on different paper, machine-ruled instead of rastrum-drawn as in the score and Bꦦaritone part.