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It is soon followed by a bold entrance of the dramatic theme from the Fantasia which, twice presented—the second time grandioso—leads to a thrilling cadence in C major. The third and last refrain is a complete restatement of the original canon and closes in A major with a still more brilliant imitative treatment of the passage formerly in the dominant. The last measures—with the high trill on the violin and cutting dissonances on the pianoforte—are far too exciting for mere verbal description.
Symphonic Variations for Pianoforte and Orchestra
This is one of Franck's most significant works, containing all his individual characteristics: melodic intensity, novel chromatic harmony and freedom of form combined with coherence. Franck always claimed that the variation form, rightly treated, was a perfect medium for free, imaginative expression; surely this work is a manifestation of his belief. A careful study will justify the statement that his style is founded on that of Bach and Beethoven; for the naturalness of these melodic variations can be compared only with the Passacaglia in C minor, and the general structure of the work finds its prototype in the Finale of the Heroic Symphony. It is a set of free variations, or rather organic transformations of two themes; the first sombre, entirely in the minor, the second brighter, with some passing emphasis on the major. The variations are not numbered and there are no rigid stops; though, of course, when objective points are reached, there is natural punctuation. The two themes, as follows—a striking example of Franck's peculiar harmonic scheme—should be carefully studied, e.g.
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