Part 23 (2/2)

The rest of the anic improvisation on the chief ue effects between the several orchestral choirs; especially beautiful are the two passages in B major, poco piu lento, scored _pp_ for the co s, and the final cadence is one of theus off to the very last froettable peace and satisfaction, _eg_

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The Finale in D ro non troppo, is a rerowing since Beethoven, not to treat the last movement as an unrelated independent portion but, instead, as an organic su the them from one movement to another--is one of Franck's important contributions to musical architecture The _

[Music: 1st the regular sonata-form lines, _ie_, with an exposition, developorous suiven out by the 'cellos and bassoons It is expanded at soth, repeated _ff_ by the full orchestra, and then after bold modulations leads, in measure 72, to the second theme in B major, happily called by Ropartz the ”theme of triumph”[278]

After a quieter portion of sombre tone in B minor we reach, in _,

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sung by the English horn against a triplet accos; the funda the sain to foresee that this theme is to be the climax of the whole work In measure 140 the development proper is resumed; based, at first, on some modulatory and imitative treatment of the first theme and followed by two _ff_ sostenuto announcements of the jubilant second theme After these have subsided there are a number of measures (piu lento) of a shadowy outline, developed froradually quickens, the voluh a series of pungent dissonances and sti syncopations, to a brilliant assertion of the first theain waxes more and more eloquent until it bursts into a truly apocalyptic proclamation of the slowin D major, is the real climax of the movement and indeed of the work Franck, however, still wishes to ihts--they are really too lovely not to be heard onceentirely of successive ninth chords,[279] there is a re thes alone--the violins playing on the G string--later for the ind and finally echoed by the high strings _ppp_ As this fades ae reach one of the es of the whole work--in its estion truly indescribable Over a slow elemental kind of _basso ostinato_ there appear first the dra the crescendo leads to a complete statement of the main theme of the Finale, with a canonic treat_

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[Footnote 278: The scoring of this theme for trumpets, cornets and trombones has been severely criticized and it is true that the cornet is an instrument to be employed and played with discretion The writer, however, has heard perforive just that ringing note evidently desired by Franck]

[Footnote 279: The hare is most characteristic of Franck and should be carefully studied]

That both the first and last movements end with canons is indeed noteworthy; Franck thus clearly showing his belief that in no other way than by polyphonic iained

SONATA FOR VIOLIN AND PIANOFORTE IN A MAJOR

This Sonata ranks with those of Brahreat works in its class Some of its lovers, in fact, would risk an unqualified superlative and call it the greatest It certainly is remarkable for its inspired theanic structure and for that sublienius It is, in two respects, at least, a highly original work: in the unusual moods of the several movements, and in the relationshi+p between the two instruh it is a violin sonata, the emphasis in reat virtuoso power of perfor the nature ato There are four ed sonata form, _ie_, there is no development; the second in complete and elaborate sonata for an interanically connected with the Finale This, in free rondo-form, with a main theme of its own treated canonically, sums up the chief themes which have preceded The work exeenerative themes; for d'Indy claims[280] that the whole structure is based on threeinflexion of which he typifies by what is called a ”torculus” ([torculus symbol])! Whether such minute analysis is necessary for the listenerthe work one is struck by the hoeneity of the material The first movement is an impassioned kind of revery--in a mood more often associated with the slowof Beethoven's C-sharp minor Sonata After soiven out, molto dolce, by the violin, supported by rich har_

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[Footnote 280: See his _Course in Composition_, book II, pp 423-426]

Some natural expansion and developorous second thea_

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This ends in F-sharpportion, _ie_, a repetition of the second thementary phrases of the first the for the bold use of augan-like sonority The recapitulation, beginning in measure 63 with still richer harmonization, is al logically in the ho measures of the coda, which starts in enius in the chromatic alteration of chords

[Footnote 281: Note the correspondence between these measures in the first part and the measures just before the end in the second part]

The second movement, in a structural sense the most normal of the four, speaks for itself It is stores marked passionato and molto fuoco, and presents a rather unusual side of Franck's quiet nature The two the and well contrasted: the first for the pianoforte, the second for the violin, _eg_

[Music: 1st theins at the quasi lento, enerative motives which is to play an important role in the Fantasia and the Finale It is rather broken up into sections, but holds the interest through its unflagging rhyth dissonances Franck's contrapuntal skill is shown here in the closing measures (130-134) where a phrase from the second theme on the violin, dolcissimo espressivo, is united with a phrase of the first the at the return The recapitulation, beginning in measure 138, is perfectly nor more and more animated, ends with brilliant bravura effects for each instrument

The third movement, entitled _Recitative-Fantasia_, is notable for its long declamations for the violin alone, and for its introduction of a the anic relationshi+p between the various movements is shown and is still further emphasized in the Finale The mood is often very ies specificallybefore or since, would staenius