los, dolce e sostenuto, sing the second theme in the rich key of
F-sharp major, the closing phrases answered by the wood-wind;
while the pianoforte supports them with coloristic, arabesque-
like broken chords containing a melodic pattern of their own. At
N the ’cellos continue with phrases from the first theme, the ac-
companiment being in extended arpeggios against a background
of sustained strings (pppcon sordino). A climax is gradually
reached which ends, smorzando, with a descending chromatic
run on the pianoforte, followed by a long trill on C-sharp which
ushers in the closing portion of the work. The structure, as a
whole, is divided into three main portions: the first preludial,
the second sombre and often meditative—largely in the minor—
the third entirely in the major and of extraordinary brilliance
and vivacity. At the Allegro non troppo after the trill, we find
a variant of the first theme for the ’cellos and basses in F-sharp
major,e.g.,
[Music]
accompanied by broken chords on the pianoforte and wood-
wind. This is followed at P by a free treatment for pianoforte,
con fuoco, of the first theme which develops at Q into a most
pianistic presentation (in the upper register of the instrument)
of the phrase just announced by the ’cellos. In the fifth mea-
sure after R the basses begin, pizzicato but forte, a modified
statement of the second theme, accompanied by a new counter
melody on the pianoforte, dolce ma marcato,e.g.
[Music]
This leads into a brilliant climax for orchestra alone based on the
first theme which, at the very end, modulates to E-flat major.
Then follows an episodical portion of unusual beauty—a long,
dreamy passage, dolce rubato, for solo pianoforte, in which the
first theme is merely hinted at in shadowy outlines,e.g.
[Music]
Abounding in fascinating modulations and coloristic effects it
shows Franck’s genius equally for real melodic germination with
an avoidance of all perfunctory manipulation of his material.
This leads, four measures after T, to an entrancepp in the
wood-wind, of a variant of the first theme. Due to the effect of
contrasted accents the passage is most exciting—two rhythms
being treated at once. A climax for full orchestra brings us at