Part 23 (1/2)

The har feature in Franck's style, namely the fact that his resolutions seldom come out as expected but, instead, drift iins a long series of modulatory developments of the main theme--of a preludial nature--but _not_ aportion is the _main body_ of the work is seen by a co of the recapitulation In in with a presentation of thephrase, antithesis, is now quite different; and, in measure 48, is developed--with some new contrapuntal voices--to a half cadence in F ro, is now repeated al in her than the original To begin a firstcontrast of , but as Franck was a devoted student of Beethoven, it would see his the the practise[276]

of that e upon the listener's h some rich modulations to the entrance of the second theme, in measure 99 This lovely melody, characteristic of Franck's tenderness,

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is noteworthy for the imitations between the violins and the 'cellos and basses It shows, furthermore, that peculiar quality in Franck's style which comes from his elusive modulations In measures 109-110 we are at a loss to tell just what direction the music will take when almost miraculously, in measure 111, we find ourselves in D-flat major--in which key the whole the us, inmelody, considered by some another part of the second the the_

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[Footnote 276: See for exa measures of the _Waldstein_ and of the _Appassionata_ Sonata]

It is developed with great brilliancy through a series of inality of Franck's harmonic scheme is very apparent The exposition ends with so theme in the mediant keys of F, D and B major, delicately scored for the ind instruins, intheme which, combined with other phrases from the exposition, is used persistently in the bass for a number of measures The material is developed climactically until, in measure 229, we find an i phrase of the first the_

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and

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The rest of the development is clearly derivable from material already presented After a final _ff_ cliins, intheme for the clarinet, oboe and flute This is the spot in a sonata-form movement where appears the hand of the master; for the excite out, and there y for the restate Franck handles the situation with convincing skill; and some climactic measures, in which the main theme hints at the return, lead us, in measure 333, to the recapitulation This is one of the most powerful and eloquent parts of the movement, for the whole first theme is presented canonically--the announce answered, a half measure later, by trumpets and cornets The rest of the recapitulation, with necessary ht expansion, corresponds closely to the first portion The coda, beginning after the same echo-effects heard at the close of the exposition, is founded on one of the counterpoints of the first subject, _eg_

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Gathering headway it leads to an i assertion _fff_, in canon form, of the main motto which concludes, with a widely spaced chord, in the brilliant[277] orchestral key of D major

[Footnote 277: Brilliant by reason of the fact that the four principal tones in D s on the violin]

The second ins with a series of subdued, pizzicato chords (for strings and harp) which establish the round for thelish horn and afterwards strengthened by the clarinet and flute, is clearly derived fro_

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and is a notable exa sweep peculiar to Franck Although extending 32 rows inevitably froht-measure phrases; the second of which, with a different har, is varied by a cantabile counter the thereby, with the upper voice, soht-measure phrase, also varied by a counterpoint in the 'cellos, ends with a characteristic, Franckianus in suspense until the lastunexpectedly into B-flat -breathed, cantabilerichness It abounds in hout, the note of mystical exaltation so prominent in Franck's nature It ends in amente and pianissimo, in B-flat major and is followed by a partial restate, to this portion of theof three-part forins the piquant theme in G minor, in triplet rhyth_,

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for, as we have stated, the structural feature of this movement is the fusion of the two customary middle movements This theme, mostly _pp_ (con sordini and vibrato)--daintily scored for strings and light ind chords--closes, inportion, beginning in E-flatby the clarinets, dolce espressivo, answered by flutes and oboes--_eg_,

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evidently takes the place of a trio and is one of the most poetic parts of the movement After some effective development there is a return, in s; soon joined, in lish horn--the structural union of the two _

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