[[Listen]] [[MusicXML]]
[[Listen]] [[MusicXML]]
and at first proceeds along regular sonata-form lines, i.e., with an exposition, development and recapitulation. After vigorous summons to attention the first theme is given out by the 'cellos and bassoons. It is expanded at some length, repeated ff by the full orchestra, and then after bold modulations leads, in measure 72, to the second theme in B major, happily called by Ropartz the "theme of triumph."[278] After a quieter portion of sombre tone in B minor we reach, in measure 124, an interpolation of the slow movement theme, e.g.,
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sung by the English horn against a triplet accompaniment in the strings; the fundamental beat—the time now changed from 2/2 to 3/4—preserving the same value. Now we begin to foresee that this theme is to be the climax of the whole work. In measure 140 the development proper is resumed; based, at first, on some modulatory and imitative treatment of the first theme and followed by two ff sostenuto announcements of the jubilant second theme. After these have subsided there are a number of measures (più lento) of a shadowy outline, developed from preceding melodic phrases. The pace gradually quickens, the volume of sound increases and we are brought, through a series of pungent dissonances and stimulating syncopations, to a brilliant assertion of the first theme in D major. This again waxes more and more eloquent until it bursts into a truly apocalyptic proclamation of the slow movement theme for full orchestra which, closing in D major, is the real climax of the movement and indeed of the work. Franck, however, still wishes to impress upon us some of his other thoughts—they are really too lovely not to be heard once more—and so, after an intermediary passage consisting entirely of successive ninth chords,[279] there is a reminiscence of the whole closing theme of the first movement now for low strings alone—the violins playing on the G string—later for the wood-wind and finally echoed by the high strings ppp. As this fades away we reach one of the most inspired passages of the whole work—in its mood of mysterious suggestion truly indescribable. Over a slow elemental kind of basso ostinato there appear first the dramatic motto and then other portions of preceding themes, as if struggling to come to the light. A long exciting crescendo leads to a complete statement of the main theme of the Finale, with a canonic treatment of which the work ends, e.g.
