Chapter 40

SONATA FOR VIOLIN

AND PIANOFORTE

IN A MAJOR

This Sonata ranks with those of Brahms as being among the
great works in its class. Some of its lovers, in fact, would risk
an unqualified superlative and call it the greatest. It certainly is
remarkable for its inspired themes, its bold harmonies, its free
and yet organic structure and for that sublime fervor which was
the basis of Franck’s genius. It is, in two respects, at least, a
highly original work: in the unusual moods of the several move-
ments, and in the relationship between the two instruments.
For although it is a violin sonata, the emphasis in many re-
spects is laid on the pianoforte part which requires great virtuoso
power of performance,—the violin, at times, having the nature
more of an obligato. There are four movements, the first in
abridged sonata form,i.e., there is no development; the second
in complete and elaborate sonata form; the third, a kind of free
rhapsody, supplying an intermezzo between the third and fourth
movements and organically connected with the Finale. This, in
free rondo-form, with a main theme of its own treated canoni-
cally, sums up the chief themes which have preceded. The work
exemplifies Franck’s practise of generative themes; for d’Indy
claims[280] that the whole structure is based on three motives,
e.g.,