of which the work
ends, _e.g._

[Music]

[Footnote 278: The scoring of this theme for trumpets, cornets and
trombones has been severely criticized and it is true that the cornet
is an instrument to be employed and played with discretion. The
writer, however, has heard performances of this work in which the
cornets seemed to give just that ringing note evidently desired by
Franck.]

[Footnote 279: The harmony of this passage is most characteristic of
Franck and should be carefully studied.]

That both the first and last movements end with canons is indeed
noteworthy; Franck thus clearly showing his belief that in no other
way than by polyphonic imitation could such intensity of utterance be
gained.

SONATA FOR VIOLIN AND PIANOFORTE IN A MAJOR

This Sonata ranks with those of Brahms as being among the great works
in its class. Some of its lovers, in fact, would risk an unqualified
superlative and call it the greatest. It certainly is remarkable for
its inspired themes, its bold harmonies, its free and yet organic
structure and for that sublime fervor which was the basis of Franck's
genius. It is, in two respects, at least, a highly original work: in
the unusual moods of the several movements, and in the relationship
between the two instruments. For although it is a violin sonata, the
emphasis in many respects is laid on the pianoforte part which
requires great virtuoso power of performance,--the violin, at times,
having the nature more of an obligato. There are four movements, the
first in abridged sonata form, _i.e._, there is no development; the
second in complete and elaborate sonata form; the third, a kind of
free rhapsody, supplying an intermezzo between the third and fourth
movements and organically connected with the Finale. This, in free
rondo-form, with a main theme of its own treated canonically, sums up
the chief themes which have preceded. The work exemplifies Franck's
practise of generative themes; for d'Indy claims[280] that the whole
structure is based on three motives, _e.g._,

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the rising and falling inflexion of which he typifies by what is
called a "torculus" ([torculus symbol])! Whether such minute analysis
is necessary for the listener may be open to question; but it is true
that in hearing the work one is struck by the homogeneity of the
material. The first movement is an impassioned kind of revery--in a
mood more often associated with the slow movement, in character
somewhat