ful entries _pp_ of the closing theme for the
clarinet, oboe and flute. This is the spot in a sonata-form movement
where appears the hand of the master; for the excitement of the free
fantasy must cool down without entirely dying out, and there must also
be a fresh crescendo of energy for the restatement of themes in the
part following. Franck handles the situation with convincing skill;
and some climactic measures, in which the main theme hints at the
return, lead us, in measure 333, to the recapitulation. This is one of
the most powerful and eloquent parts of the movement, for the whole
first theme is presented canonically--the announcement in the
trombones, tuba and basses being answered, a half measure later, by
trumpets and cornets. The rest of the recapitulation, with necessary
modulations and slight expansion, corresponds closely to the first
portion. The coda, beginning after the same echo-effects heard at the
close of the exposition, is founded on one of the counterpoints of the
first subject, _e.g._

[Music]

Gathering headway it leads to an imposing assertion _fff_, in canon
form, of the main motto which concludes, with a widely spaced chord,
in the brilliant[277] orchestral key of D major.

[Footnote 277: Brilliant by reason of the fact that the four principal
tones in D major, D, A, G, E are _open_ strings on the violin.]

The second movement begins with a series of subdued, pizzicato chords
(for strings and harp) which establish the mood and later furnish the
harmonic background for the main theme. This haunting melody,
announced--in measure 16--by the English horn and afterwards
strengthened by the clarinet and flute, is clearly derived from the
motto of the first movement, _e.g._

[Music]

and is a notable example of the free phraseology and long sweep
peculiar to Franck. Although extending 32 measures it never loses its
continuity, for every measure grows inevitably from what has preceded.
It begins with two identical eight-measure phrases; the second of
which, with a different harmonic ending, is varied by a cantabile
counter theme in the violas--causing thereby, with the upper voice,
some delightful dissonant effects. The last eight-measure phrase, also
varied by a counterpoint in the 'cellos, ends with a characteristic,
Franckian modulation; keeping us in suspense until the last moment,
and then debouching unexpectedly into B-flat major. In this key there
follows a long-breathed, cantabile me