R. J. Stove states that Franck actually disproved “one of musicology's hoariest clichés” – that a “composer's reputation fades just after his death.” Within the span of months and continuing for a year or two, revivals of Franck's music, including Les Béatitudes, Ruth, the string quartet and other pieces, were performed in his honor and to his memory. These concerts occurred not only in Paris, but also thanks in part to Eugène Ysaÿe, in Belgium as well. No doubt much of this was because of his students – la bande à Franck – who desired to champion their Maître and keep his memory alive. Not all composers had such a dedicated group of disciples! There seemed to be an increase in appreciation for Franck and his music not only in France, where he was well-known as organ professor at the Conservatoire and organist at Sainte-Clotilde, but also in Belgium, the land of his birth. From the time of his death, Franck was the subject of various examinations of his life and works which addressed the composer and his music in differing degrees of depth. Some of the earlier writings, those composed within the first few years of his passing, tend to be brief and more superficial; their point is rather to remember the composer warmly and with respect, while reminding the reader of some of his more celebrated works, rather than to be a lasting and analytical memorial (see Arthur Coquard and Camille Benoit, for example, both written in 1890 and Georges Servières's appreciation from 1897.)

The early 20th century also witnessed some additional appreciations of the composer. During this time, authors began to address specific works, genres, and Franck's compositional practices, thus attempting to offer a more in depth appreciation and understanding of the composer and his contributions. For example, Gaston Périchard's article published as part of the Portraits d’hiers series in 1910 quotes from correspondences between Franck and his pupils and explores his work as teacher in addition to his contributions as a composer. Claude Debussy, a one-time student in Franck's organ class at the Conservatoire, writes on the Les Béatitudes for the journal Gil Blas in 1903 with insight and empathy. Other authors also wrote critical impressions of Les Béatitudes, such as Joseph Ryelandt in 1898 and Georges Golesco later in 1914, both for the Belgian journal Durendal: revue catholique d’art et de littérature.