V to a repetition of the former pianoforte presentation of the
first theme, followed as before, at W by the counter-melody
against the second theme, forte, in the basses. The first theme,
now in complete control, is here proclaimed most eloquently in
antiphonal form between the full orchestra and pianoforte,e.g.
[Music]
The work ends with a rapid iteration, molto crescendo, of the
first motive—in diminution. Now that we have reviewed the
entire composition, there is one feature worthy of special em-
phasis. The structure as a whole (as we have stated) is clearly
divided into three main parts; but when we examine the third
part by itself, we find that it follows the lines of the sonata-
form. For there is a first portion, with a main theme in F-sharp
major, and a second theme—the new melody—in D major; the
passage for pianoforte in E-flats major stands for the develop-
ment, and the movement concludes with a distinct third portion,
both first and second theme being in the home key. Thus the
structure represents a carefully planned union of the variation
form and the sonata-form which were special favorites of Franck.
The work, which, after earnest study, will surely be enjoyed and
loved, ranks with theIstar Symphonic Variationsby d’Indy and
the two sets on themes from Paganini by Brahms as the acme
of what the variation form may indeed be when treated by a
master.