The peculiarities of Franck’s style are striking and have been discussed at some length elsewhere in this series. They are clearly marked in the string quartet: the constant chromatic shifting of harmonies, the intensive cultivation of short phrases, the polyphonic skill, and the singular purity of thought that fills all his music with the spirit of cathedrals. His workmanship is everywhere fine, and shows at its best in the treatment of the four parts. The analogies which have been suggested between him and the great Bach are at least a little supported by the fact that Franck, like Bach, was influenced in all his work by the organ. The great chords in the opening portions of the quartet suggest organ music. Yet on the whole the style of the quartet is perfectly adapted to the instruments for which it was written.
The form is unusual. There is an opening section in D major, poco lento, an indescribably full and glorious expression of the fundamental musical thought of the entire work. It is complete in itself, but is followed without pause by the first allegro, in D minor. The allegro movement is regular in structure, except for the recurrence of the theme of the introduction as foundation for the first part of the development section, and again as coda. The first theme recalls motives in the first movement of the pianoforte quintet in F minor. There is a transitional theme in D minor (violoncello) which plays a considerable part in this movement, and which later on is metamorphosed and becomes a part of the second theme of the last movement. The second theme of the first movement appears regularly in F major (first violin).
The first part of the development section is, as already suggested, a fugal treatment of the introductory motive. The tempo becomes piu lento, so that we seem to be listening to a section of music independent of the allegro. At the end of this fugal process the time becomes again allegro and the development of the first and second allegro themes, together with the transitional motive of the first section, proceed regularly according to classical traditions. The restatement is likewise regular; but the coda is built upon the opening motif. Hence the movement as a whole presents the interweaving of two quasi-independent movements, each very nearly complete in itself, and each consistently developed through its own proper course. In fact the three sections marked Piu lento could be joined to each other with scarcely a change of note; and the sections marked allegro likewise. The double scheme is carried out perfectly to the very end of the movement, even the coda itself playing with motives from both sections.
The Scherzo is in F-sharp minor, with a Trio in D major, delicate throughout; and the Largo is in B major. Of the latter nothing can be said in words that will represent the strange, devout exaltation of its beauty.
The last movement brings us face to face with the structural principles upon which Franck worked, and which are clear in the violin sonata, the works for pianoforte solo, the pianoforte quintet, and the symphony. The fragmentary introduction is a combination of snatches of music yet to be made fully known, and reminiscences of themes that have gone before: of the melody of the Largo; the rhythmical figures of the Scherzo and the motive of the Trio; and finally, as preparation for the last movement itself the violoncello sings once more the motive of the first introduction, and is answered by the first violin.
The Allegro molto begins after a pause. The first theme is given to the viola, a theme that is almost note for note the theme we have just had recalled to us. The entrance of the second theme is prepared by many anticipations. The theme is in three broad clauses, more or less widely separated from each other. The first of these is a changed form of transitional motive from the first movement. It is given out in sustained chords, a little slowly. The second clause (violins in unison) follows shortly after the restoration of the original tempo. This is considerably developed, dying away to a series of chords on the motive of the first clause (originally from the first movement). There is a powerful crescendo, and a dramatic stamping of chords as announcement to the third clause of the second theme (molto energico, first violin).
The development and restatement of this material follows the regular course of the sonata form. The coda brings back the motives of the Scherzo, and these, developed with the first theme (originally from the first introduction), lead up to a sublime chant of the melody of the Largo (in augmentation). A few measures, recitative built upon phrases of the first theme, and a short Presto bring the work to full completion.
The César Franck quartet is a great work, and it is a great quartet. The material is symphonic, but it is finely divided among the four instruments. There is rich sonority but no thickness. The lines of the form are clear, and it is not surprising to find genuine polyphony in the work of a man who, like Franck, possessed a technical skill that was instinctive. One may only raise a question as to whether this quartet is really a further development of the last Beethoven quartet, if indeed it is in principle of structure akin to them. In the matter of form it is strikingly different from the quartets of Schumann and Brahms, but is it not equally different from those of Beethoven? There is a more vital organization in the C-sharp minor quartet of Beethoven than can be explained by the presence of the same thematic material in all the movements.
The Flonzaley Quartet.