Gathering headway it leads to an imposing assertionfff, in canon
form, of the main motto which concludes, with a widely spaced
chord, in the brilliant[277] orchestral key of D major.
[Footnote 277: Brilliant by reason of the fact that the four prin-
cipal tones in D major, D, A, G, E areopenstrings on the
violin.]
The second movement begins with a series of subdued, pizzicato
chords (for strings and harp) which establish the mood and later
furnish the harmonic background for the main theme. This
haunting melody, announced—in measure 16—by the English
horn and afterwards strengthened by the clarinet and flute, is
clearly derived from the motto of the first movement,e.g.
[Music]
and is a notable example of the free phraseology and long sweep
peculiar to Franck. Although extending 32 measures it never
loses its continuity, for every measure grows inevitably from
what has preceded. It begins with two identical eight-measure
phrases; the second of which, with a different harmonic ending,
is varied by a cantabile counter theme in the violas—causing
thereby, with the upper voice, some delightful dissonant effects.
The last eight-measure phrase, also varied by a counterpoint
in the ’cellos, ends with a characteristic, Franckian modula-
tion; keeping us in suspense until the last moment, and then
debouching unexpectedly into B-flat major. In this key there
follows a long-breathed, cantabile melody—at first for strings
alone, but scored with increasing richness. It abounds in modu-
latory changes and expresses, throughout, the note of mystical
exaltation so prominent in Franck’s nature. It ends in measures
81-86 with an eloquent cadence, largamente and pianissimo, in
B-flat major and is followed by a partial restatement of the first
theme; thus giving, to this portion of the movement, a feeling of
three-part form. Then, after some preliminary phrases, begins
the piquant theme in G minor, in triplet rhythm, which takes
the place of the conventional Scherzo,e.g.,
[Music]
for, as we have stated, the structural feature of this movement is
the fusion of the two customary middle movements. This theme,
mostlypp(con sordini and vibrato)—daintily scored for strings
and light wood-wind chords—closes, in measures 131-134, with a