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 theme is now repeated. Some stimulating modulations bring us, in measure 129, to a most energetic and aspiring melody, considered by some another part of the second theme, but which certainly has the note of a closing theme and also the structural position of a closing theme, e.g.
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It is developed with great brilliancy through a series of mediant modulations, in which the originality of Franck's harmonic scheme is very apparent. The exposition ends with some dreamy, pianissimo reminiscences of the closing theme in the mediant keys of F, D and B major, delicately scored for the wood-wind instruments and horns. The development begins, in measure 191, with the motive of the closing theme 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 impressive treatment of the second descending phrase of the first theme—originally in augmentation and later in diminution, e.g.
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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 climax there begins, in measure 287, a series of beautiful entries pp of the closing theme for the clarinet, oboe and flute. This is the spot in a sonata-form movement where appears the hand of the master; for the excitement of the free fantasy must cool down without entirely dying out, and there must also be a fresh crescendo of energy for the restatement of themes in the part following. 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 announcement in the trombones, tuba and basses being answered, a half measure later, by trumpets and cornets. The rest of the recapitulation, with necessary modulations and slight 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, e.g.