lody--at first for strings alone,
but scored with increasing richness. It abounds in modulatory changes
and expresses, throughout, the note of mystical exaltation so
prominent in Franck's nature. It ends in measures 81-86 with an
eloquent cadence, largamente and pianissimo, in B-flat major and is
followed by a partial restatement of the first theme; thus giving, to
this portion of the movement, a feeling of three-part form. Then,
after some preliminary phrases, begins the piquant theme in G minor,
in triplet rhythm, which takes the place of the conventional Scherzo,
_e.g._,

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for, as we have stated, the structural feature of this movement is the
fusion of the two customary middle movements. This theme, mostly _pp_
(con sordini and vibrato)--daintily scored for strings and light
wood-wind chords--closes, in measures 131-134, with a cadence in G
minor. The following portion, beginning in E-flat major, but often
modulating--its graceful theme sung by the clarinets, dolce
espressivo, answered by flutes and oboes--_e.g._,

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evidently takes the place of a trio and is one of the most poetic
parts of the movement. After some effective development there is a
return, in measure 175, to the G minor scherzo-theme in the strings;
soon joined, in measure 183, by the slow theme on the English
horn--the structural union of the two moods being thus established,
_e.g._

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The rest of the movement is a free but perfectly organic improvisation
on the chief melodies already presented. It is richly scored, with
dialogue effects between the several orchestral choirs; especially
beautiful are the two passages in B major, poco piu lento, scored _pp_
for the complete wood-wind group and horns. The closing measures have
lovely echoes between wood-wind and strings, and the final cadence is
one of the most magical in all Franck; holding us off to the very last
from our goal and finally reaching it in a chord of unforgettable
peace and satisfaction, _e.g._

[Music]

The Finale in D major, allegro non troppo, is a remarkable example in
modern literature of that tendency, growing since Beethoven, not to
treat the last movement as an unrelated independent portion but,
instead, as an organic summing up of all the leading themes. This
cyclic use of themes--transferring them from one movement to
another--is one of Franck's important contributions to musical
architecture. The movement has two themes of its own, _e.g._