the “theme of triumph."[278] After a quieter portion of sombre
tone in B minor we reach, in measure 124, an interpolation of
the slow movement theme,e.g.,
[Music]
sung by the English horn against a triplet accompaniment in
the strings; the fundamental beat—the time now changed from
2/2 to 3/4—preserving the same value. Now we begin to fore-
see that this theme is to be the climax of the whole work. In
measure 140 the development proper is resumed; based, at first,
on some modulatory and imitative treatment of the first theme
and followed by twoffsostenuto announcements of the jubilant
second theme. After these have subsided there are a number
of measures (più lento) of a shadowy outline, developed from
preceding melodic phrases. The pace gradually quickens, the
volume of sound increases and we are brought, through a series
of pungent dissonances and stimulating syncopations, to a bril-
liant assertion of the first theme in D major. This again waxes
more and more eloquent until it bursts into a truly apocalyp-
tic proclamation of the slow movement theme for full orchestra
which, closing in D major, is the real climax of the movement
and indeed of the work. Franck, however, still wishes to im-
press upon us some of his other thoughts—they are really too
lovely not to be heard once more—and so, after an intermediary
passage consisting entirely of successive ninth chords,[279] there
is a reminiscence of the whole closing theme of the first move-
ment now for low strings alone—the violins playing on the G
string—later for the wood-wind and finally echoed by the high
stringsppp. As this fades away we reach one of the most in-
spired passages of the whole work—in its mood of mysterious
suggestion truly indescribable. Over a slow elemental kind of
basso ostinatothere appear first the dramatic motto and then
other portions of preceding themes, as if struggling to come to
the light. A long exciting crescendo leads to a complete state-
ment of the main theme of the Finale, with a canonic treatment
of which the work ends,e.g.
[Music]
[Footnote 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