)! Whether such minute analysis is necessary for the listener may be open to question; but it is true that in hearing the work one is struck by the homogeneity of the material. The first movement is an impassioned kind of revery—in a mood more often associated with the slow movement, in character somewhat like the beginning of Beethoven's C-sharp minor Sonata. After some preludial ninth chords the dreamy first theme is given out, molto dolce, by the violin, supported by rich harmonies on the pianoforte, the use of the augmented chords being prominent, e.g.
Some natural expansion and development lead, in measure 31, to the broad and vigorous second theme, sempre forte e largamente, announced by the pianoforte, e.g.
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This ends in F-sharp minor and is at once followed by a closing portion, i.e., a repetition of the second theme with an elaborate arpeggio accompaniment and some fragmentary phrases of the first theme on the violin. Its last measures[281] are striking for the bold use of augmented chords and for the wide spacing which gives an organ-like sonority. The recapitulation, beginning in measure 63 with still richer harmonization, is almost identical with the exposition; the second theme appearing logically in the home key. The closing measures of the coda, which starts in measure 97, illustrate Franck's genius in the chromatic alteration of chords.
The second movement, in a structural sense the most normal of the four, speaks for itself. It is stormy and dramatic, with a number of passages marked passionato and molto fuoco, and presents a rather unusual side of Franck's quiet nature. The two themes are strong and well contrasted: the first for the pianoforte, the second for the violin, e.g.
