The phraseology of the theme is noticeable for its flexibility;
since the first phrase is expanded to five measures and the second
phrase (antithesis), with a descending motive, to seven,e.g.
[Music]
The harmony of this second phrase illustrates a striking feature
in Franck’s style, namely the fact that his resolutions seldom
come out as expected but, instead, drift imperceptibly into other
channels. In measure 13 there begins a long series of modulatory
developments of the main theme—of a preludial nature—butnot
a mere prelude in the ordinary sense. That this entire opening
portion is themain bodyof the work is seen by a comparison
with what takes place at the beginning of the recapitulation. In
measure 29, allegro non troppo, we begin with a presentation of
the motive in the usual first-movement mood. The answering
phrase, antithesis, is now quite different; and, in measure 48,
is developed—with some new contrapuntal voices—to a half ca-
dence in F minor. This whole portion, both the Lento and the
Allegro, is now repeated almost literally (the one slight change
being in measures 56-57) in this new key, a minor third higher
than the original. To begin a first movement in this way,i.e.,
with such a strong contrast of moods is very novel and striking,
but as Franck was a devoted student of Beethoven, it would
seem that, by presenting his theme in different strata, he was
simply expanding the practise[276] of that master in order to
impress his message upon the listener’s memory. The repetition
of the Allegro part now leads through some rich modulations to
the entrance of the second theme, in measure 99. This lovely
melody, characteristic of Franck’s tenderness,
[Music]
is noteworthy for the imitations between the violins and the
’cellos and basses. It shows, furthermore, that peculiar quality
in Franck’s style which comes from his elusive modulations. In
measures 109-110 we are at a loss to tell just what direction the
music will take when almost miraculously, in measure 111, we
find ourselves in D-flat major—in which key the whole theme is
now repeated. Some stimulating modulations bring us, in mea-
sure 129, to a most energetic and aspiring melody, considered
by some another part of the second theme, but which certainly
has the note of a closing theme and also the structural position
of a closing theme,e.g.