[[Listen]] [[MusicXML]]
That both the first and last movements end with canons is indeed noteworthy; Franck thus clearly showing his belief that in no other way than by polyphonic imitation could such intensity of utterance be gained.
Sonata for Violin and Pianoforte in A Major
This Sonata ranks with those of Brahms as being among the great works in its class. Some of its lovers, in fact, would risk an unqualified superlative and call it the greatest. It certainly is remarkable for its inspired themes, its bold harmonies, its free and yet organic structure and for that sublime fervor which was the basis of Franck's genius. It is, in two respects, at least, a highly original work: in the unusual moods of the several movements, and in the relationship between the two instruments. For although it is a violin sonata, the emphasis in many respects is laid on the pianoforte part which requires great virtuoso power of performance,—the violin, at times, having the nature more of an obligato. There are four movements, the first in abridged sonata form, i.e., there is no development; the second in complete and elaborate sonata form; the third, a kind of free rhapsody, supplying an intermezzo between the third and fourth movements and organically connected with the Finale. This, in free rondo-form, with a main theme of its own treated canonically, sums up the chief themes which have preceded. The work exemplifies Franck's practise of generative themes; for d'Indy claims[280] that the whole structure is based on three motives, e.g.,
[[Listen]] [[MusicXML]]
the rising and falling inflexion of which he typifies by what is called a "torculus" (
