[Music: 1st theme]

[Music: 2d theme]

and at first proceeds along regular sonata-form lines, _i.e._, with an
exposition, development and recapitulation. After vigorous summons to
attention the first theme is given out by the 'cellos and bassoons. It
is expanded at some length, repeated _ff_ by the full orchestra, and
then after bold modulations leads, in measure 72, to the second theme
in B major, happily called by Ropartz the "theme of triumph."[278]
After a quieter portion of sombre tone in B minor we reach, in measure
124, an interpolation of the slow movement theme, _e.g._,

[Music]

sung by the English horn against a triplet accompaniment in the
strings; the fundamental beat--the time now changed from 2/2 to
3/4--preserving the same value. Now we begin to foresee that this
theme is to be the climax of the whole work. In measure 140 the
development proper is resumed; based, at first, on some modulatory and
imitative treatment of the first theme and followed by two _ff_
sostenuto announcements of the jubilant second theme. After these have
subsided there are a number of measures (piu lento) of a shadowy
outline, developed from preceding melodic phrases. The pace gradually
quickens, the volume of sound increases and we are brought, through a
series of pungent dissonances and stimulating syncopations, to a
brilliant assertion of the first theme in D major. This again waxes
more and more eloquent until it bursts into a truly apocalyptic
proclamation of the slow movement theme for full orchestra which,
closing in D major, is the real climax of the movement and indeed of
the work. Franck, however, still wishes to impress upon us some of his
other thoughts--they are really too lovely not to be heard once
more--and so, after an intermediary passage consisting entirely of
successive ninth chords,[279] there is a reminiscence of the whole
closing theme of the first movement now for low strings alone--the
violins playing on the G string--later for the wood-wind and finally
echoed by the high strings _ppp_. As this fades away we reach one of
the most inspired passages of the whole work--in its mood of
mysterious suggestion truly indescribable. Over a slow elemental kind
of _basso ostinato_ there appear first the dramatic motto and then
other portions of preceding themes, as if struggling to come to the
light. A long exciting crescendo leads to a complete statement of the
main theme of the Finale, with a canonic treatment