As representative works[273] we have chosen, for analytical comments the D minor Symphony (Franck's only work in this field), the Sonata for violin and pianoforte and the Symphonic Variations for pianoforte and orchestra. Franck has also composed a very beautiful Quintet for strings and pianoforte—considered by some the most sublime chamber work of recent times; a String Quartet, notable for its interrelationship of themes and movements; two elaborate compositions for pianoforte solo, the Prelude, Chorale and Fugue (the fugue showing a masterly combination of strict fugal style and free form) and the Prelude, Aria and Finale; a wealth of organ works—the three Chorales being of special beauty—and several Symphonic Poems of lesser importance. His purely vocal works, oratorios and church music lie outside the province of this book.
The Symphony[274] in D minor is in three movements; the first in complete and elaborate sonata-form, the second a fusion of the two customary middle movements, and the Finale (though fundamentally on a sonata-form basis) an organic summing-up of the chief themes of the entire work. The first movement begins, Lento, with the main theme proper (thesis) the motive[275] of which is the foundation of the whole work, e.g.
The phraseology of the theme is noticeable for its flexibility; since the first phrase is expanded to five measures and the second phrase (antithesis), with a descending motive, to seven, e.g.
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The harmony of this second phrase illustrates a striking feature in Franck's style, namely the fact that his resolutions seldom come out as expected but, instead, drift imperceptibly into other channels. In measure 13 there begins a long series of modulatory developments of the main theme—of a preludial nature—but not a mere prelude in the ordinary sense. That this entire opening portion is the main body of the work is seen by a comparison with what takes place at the beginning of the recapitulation. In measure 29, allegro non troppo, we begin with a presentation of the motive in the usual first-movement mood. The answering phrase, antithesis, is now quite different; and, in measure 48, is developed—with some new contrapuntal voices—to a half cadence in F minor. This whole portion, both the Lento and the Allegro, is now repeated almost literally (the one slight change being in measures 56-57) in this new key, a minor third higher than the original. To begin a first movement in this way, i.e., with such a strong contrast of moods is very novel and striking, but as Franck was a devoted student of Beethoven, it would seem that, by presenting his theme in different strata, he was simply expanding the practise[276] of that master in order to impress his message upon the listener's memory. The repetition of the Allegro part now leads through 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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