accompanied by broken chords on the pianoforte and wood-wind. This is followed at P by a free treatment for pianoforte, con fuoco, of the first theme which develops at Q into a most pianistic presentation (in the upper register of the instrument) of the phrase just announced by the 'cellos. In the fifth measure after R the basses begin, pizzicato but forte, a modified statement of the second theme, accompanied by a new counter melody on the pianoforte, dolce ma marcato, e.g.
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This leads into a brilliant climax for orchestra alone based on the first theme which, at the very end, modulates to E-flat major. Then follows an episodical portion of unusual beauty—a long, dreamy passage, dolce rubato, for solo pianoforte, in which the first theme is merely hinted at in shadowy outlines, e.g.
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Abounding in fascinating modulations and coloristic effects it shows Franck's genius equally for real melodic germination with an avoidance of all perfunctory manipulation of his material. This leads, four measures after T, to an entrance pp in the wood-wind, of a variant of the first theme. Due to the effect of contrasted accents the passage is most exciting—two rhythms being treated at once. A climax for full orchestra brings us at V to a repetition of the former pianoforte presentation of the first theme, followed as before, at W by the counter-melody against the second theme, forte, in the basses. The first theme, now in complete control, is here proclaimed most eloquently in antiphonal form between the full orchestra and pianoforte, e.g.
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