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[Footnote 276: See for example the opening measures of the
Waldsteinand of theAppassionataSonata.]
It is developed with great brilliancy through a series of me-
diant modulations, in which the originality of Franck’s har-
monic scheme is very apparent. The exposition ends with some
dreamy, pianissimo reminiscences of the closing theme in the
mediant keys of F, D and B major, delicately scored for the
wood-wind instruments and horns. The development begins,
in measure 191, with the motive of the closing theme which,
combined with other phrases from the exposition, is used per-
sistently in the bass for a number of measures. The material
is developed climactically until, in measure 229, we find an im-
pressive treatment of the second descending phrase of the first
theme—originally in augmentation and later in diminution,e.g.
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and
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The rest of the development is clearly derivable from material
already presented. After a finalff climax there begins, in mea-
sure 287, a series of beautiful entriesppof the closing theme for
the clarinet, oboe and flute. This is the spot in a sonata-form
movement where appears the hand of the master; for the excite-
ment of the free fantasy must cool down without entirely dying
out, and there must also be a fresh crescendo of energy for the
restatement of themes in the part following. Franck handles the
situation with convincing skill; and some climactic measures, in
which the main theme hints at the return, lead us, in measure
333, to the recapitulation. This is one of the most powerful
and eloquent parts of the movement, for the whole first theme
is presented canonically—the announcement in the trombones,
tuba and basses being answered, a half measure later, by trum-
pets and cornets. The rest of the recapitulation, with necessary
modulations and slight expansion, corresponds closely to the
first portion. The coda, beginning after the same echo-effects
heard at the close of the exposition, is founded on one of the
counterpoints of the first subject,e.g.
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