pianoforte, the second for the violin,e.g.
[Music: 1st theme]
[Music: 2d theme]
The development begins at the quasi lento, measure 80, with
the second (b) of the generative motives which is to play an im-
portant role in the Fantasia and the Finale. It is rather broken
up into sections, but holds the interest through its unflagging
rhythmic vigor and daring dissonances. Franck’s contrapuntal
skill is shown here in the closing measures (130-134) where a
phrase from the second theme on the violin, dolcissimo espres-
sivo, is united with a phrase of the first theme on the pianoforte,
hinting at the return. The recapitulation, beginning in measure
138, is perfectly normal and leads to a coda which, becoming
more and more animated, ends with brilliant bravura effects for
each instrument.
The third movement, entitledRecitative-Fantasia, is notable for
its long declamations for the violin alone, and for its introduc-
tion of a theme from the preceding movement and of one to be
repeated in the Finale. Thus the organic relationship between
the various movements is shown and is still further emphasized
in the Finale. The mood is often very impassioned (oncefff) and
dramatic, with several passages specifically marked. This music
alone, which sounds like nothing before or since, would stamp
Franck as an absolutely original genius. In measure 53 appears
a long pianissimo meditation by the violin on a phrase—the sec-
ond generative motive (b)—from the preceding movement, sup-
ported by beautifully spaced arpeggio chords on the pianoforte,
e.g.
[Music]
In measure 71 occurs the first appearance of the bold theme
which is to be twice used for episodes in the Finale,e.g.
[Music]
The closing cadence[282] of the movement, one of the most orig-
inal and truly beautiful in all literature as it seems to the writer,
furnishes a marvellous contrast to the stormy measures imme-
diately preceding.
[Footnote 282: Already cited on page 57, Chapter IV.]