ces--to a
half cadence in F minor. This whole portion, both the Lento and the
Allegro, is now repeated almost literally (the one slight change being
in measures 56-57) in this new key, a minor third higher than the
original. To begin a first movement in this way, _i.e._, with such a
strong contrast of moods is very novel and striking, but as Franck was
a devoted student of Beethoven, it would seem that, by presenting his
theme in different strata, he was simply expanding the practise[276]
of that master in order to impress his message upon the listener's
memory. The repetition of the Allegro part now leads through some rich
modulations to the entrance of the second theme, in measure 99. This
lovely melody, characteristic of Franck's tenderness,

[Music]

is noteworthy for the imitations between the violins and the 'cellos
and basses. It shows, furthermore, that peculiar quality in Franck's
style which comes from his elusive modulations. In measures 109-110 we
are at a loss to tell just what direction the music will take when
almost miraculously, in measure 111, we find ourselves in D-flat
major--in which key the whole theme is now repeated. Some stimulating
modulations bring us, in measure 129, to a most energetic and aspiring
melody, considered by some another part of the second theme, but which
certainly has the note of a closing theme and also the structural
position of a closing theme, _e.g._

[Music]

[Footnote 276: See for example the opening measures of the _Waldstein_
and of the _Appassionata_ Sonata.]

It is developed with great brilliancy through a series of mediant
modulations, in which the originality of Franck's harmonic scheme is
very apparent. The exposition ends with some dreamy, pianissimo
reminiscences of the closing theme in the mediant keys of F, D and B
major, delicately scored for the wood-wind instruments and horns. The
development begins, in measure 191, with the motive of the closing
theme which, combined with other phrases from the exposition, is used
persistently in the bass for a number of measures. The material is
developed climactically until, in measure 229, we find an impressive
treatment of the second descending phrase of the first theme--originally
in augmentation and later in diminution, _e.g._

[Music]

and

[Music]

The rest of the development is clearly derivable from material already
presented. After a final _ff_ climax there begins, in measure 287, a
series of beauti