Part 24 (1/2)

Inpianissienerativeio chords on the pianoforte, _eg_

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In measure 71 occurs the first appearance of the bold the_

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The closing cadence[282] of the inal and truly beautiful in all literature as it seems to the writer, furnishes a marvellous contrast to the stor

[Footnote 282: Already cited on page 57, Chapter IV]

The Finale is perhaps the ue between the two instru used so easily that it see upon the round provided for the violin _

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The first episode, beginning in F-sharp enerative phrase (_c_) brought over froes (delicato) on the violin This leads to a return of the canonic first thee of statement and answer and with free modulations, is developed to a brilliant cli--in the dominant key of E major Some transitionalus to the second episode, in B-flat minor This at first develops the phrase (_b_) fro_

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and later, also in the bass, a phrase fro_

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It is soon followed by a bold entrance of the dramatic therandioso--leads to a thrilling cadence in C major The third and last refrain is a coinal canon and closes in A major with a still e forh trill on the violin and cutting dissonances on the pianoforte--are far too exciting for mere verbal description

SYMPHONIC VARIATIONS FOR PIANOFORTE AND ORCHESTRA

This is one of Franck'sall his individual characteristics: melodic intensity, novel chromatic harmony and freedom of form combined with coherence Franck always claihtly treated, was a perfect inative expression; surely this work is a manifestation of his belief A careful study will justify the statement that his style is founded on that of Bach and Beethoven; for the naturalness of these lia in C eneral structure of the work finds its prototype in the Finale of the _Heroic Syanic transformations of two thehter, with so emphasis on the id stops; though, of course, when objective points are reached, there is natural punctuation The two the example of Franck's peculiar har_

[Music: 1st theme]

[Music: 2d theme]

The work opens with a series of restless dotted notes for the strings _ff_ which diminish and retard to an entrance of the first theme, piu lento, for the pianoforte; the two phrases of which are interrupted by a passage, somewhat modified, fro theus at B[283] to a premonitory statement of the second thes) over a _

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[Footnote 283: The indication by letters is the same in the full score as in the version for two pianofortes]

Then follows a long rhapsodic presentation of the first theme for pianoforte solo--the ios possible This passage is one of great sonority and reveals clearly the influence of the organ upon Franck's style So at E a re us (after an elaborate half-cadence on the dominant of F-sharp minor) to the entrance of the second theme Now that all the row and blossom In the first variation at F we have phrases of the second thes, ind and pianoforte; and in the second at G the violas and 'cellos sing the whole second theuration on the pianoforte This is followed at H by a brilliant ahtly accompanied on the orchestra, of phrases already heard and leads at I to a fortissimo orchestral tutti in D major--the next variation--which proclaireat power on both instruments and is combined, nine measures after J, with a variant of the first theme At K there is a bold treatment of the second the octaves on the pianoforte

At L we have so in the strings with a background of broken triplet chords on the pianoforte We now reach at M--molto piu lento--the most poetic variation of the work All the 'cellos, dolce e sostenuto, sing the second the phrases answered by the ind; while the pianoforte supports the a melodic pattern of their own At N the 'cellos continue with phrases froios against a background of sustained strings (_ppp_ con sordino) A cliradually reached which ends, s chro trill on C-sharp which ushers in the closing portion of the work The structure, as a whole, is divided into three main portions: the first preludial, the second soely in the minor--the third entirely in the major and of extraordinary brilliance and vivacity At the Allegro non troppo after the trill, we find a variant of the first the_,

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accompanied by broken chords on the pianoforte and ind This is followed at P by a free treatment for pianoforte, con fuoco, of the first theme which develops at Q into a ister of the instrument) of the phrase just announced by the 'cellos In the fifth in, pizzicato but forte, a modified statement of the second theme, accompanied by a new counter _

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