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Gathering headway it leads to an imposing assertion fff, in canon form, of the main motto which concludes, with a widely spaced chord, in the brilliant[277] orchestral key of D major.
The second movement begins with a series of subdued, pizzicato chords (for strings and harp) which establish the mood and later furnish the harmonic background for the main theme. This haunting melody, announced—in measure 16—by the English horn and afterwards strengthened by the clarinet and flute, is clearly derived from the motto of the first movement, e.g.
and is a notable example of the free phraseology and long sweep peculiar to Franck. Although extending 32 measures it never loses its continuity, for every measure grows inevitably from what has preceded. It begins with two identical eight-measure phrases; the second of which, with a different harmonic ending, is varied by a cantabile counter theme in the violas—causing thereby, with the upper voice, some delightful dissonant effects. The last eight-measure phrase, also varied by a counterpoint in the 'cellos, ends with a characteristic, Franckian modulation; keeping us in suspense until the last moment, and then debouching unexpectedly into B-flat major. In this key there follows a long-breathed, cantabile melody—at first for strings alone, but scored with increasing richness. It abounds in modulatory changes and expresses, throughout, the note of mystical exaltation so prominent in Franck's nature. It ends in measures 81-86 with an eloquent cadence, largamente and pianissimo, in B-flat major and is followed by a partial restatement of the first theme; thus giving, to this portion of the movement, a feeling of three-part form. Then, after some preliminary phrases, begins the piquant theme in G minor, in triplet rhythm, which takes the place of the conventional Scherzo, e.g.,
for, as we have stated, the structural feature of this movement is the fusion of the two customary middle movements. This theme, mostly pp (con sordini and vibrato)—daintily scored for strings and light wood-wind chords—closes, in measures 131-134, with a cadence in G minor. The following portion, beginning in E-flat major, but often modulating—its graceful theme sung by the clarinets, dolce espressivo, answered by flutes and oboes—e.g.,