[272] For a comprehensive and discriminating account of his style see the Boston Symphony Orchestra Program Book, for January 17, 1919.
[273] On account of the length of these works it is impossible to include any of them in the Supplement.
[274] Study, if possible, the orchestral score. For class-room work there is an excellent four-hand arrangement by the composer, and one for two hands by Ernest Alder.
[275] This terse phrase is identical with motives from several other works, e.g., the beginning of Liszt's Les Préludes, the motive "Muss es sein?" in Beethoven's quartet, opus 135, and the Fate motive in Wagner's Valkyrie.
[276] See for example the opening measures of the Waldstein and of the Appassionata Sonata.
[277] Brilliant by reason of the fact that the four principal tones in D major, D, A, G, E are open strings on the violin.
[278] The scoring of this theme for trumpets, cornets and trombones has been severely criticized and it is true that the cornet is an instrument to be employed and played with discretion. The writer, however, has heard performances of this work in which the cornets seemed to give just that ringing note evidently desired by Franck.
[279] The harmony of this passage is most characteristic of Franck and should be carefully studied.
[280] See his Course in Composition, book II, pp. 423-426.
[281] Note the correspondence between these measures in the first part and the measures just before the end in the second part.