like the beginning of Beethoven's C-sharp minor Sonata. After
some preludial ninth chords the dreamy first theme is given out, molto
dolce, by the violin, supported by rich harmonies on the pianoforte,
the use of the augmented chords being prominent, _e.g._

[Music]

[Footnote 280: See his _Course in Composition_, book II, pp. 423-426.]

Some natural expansion and development lead, in measure 31, to the
broad and vigorous second theme, sempre forte e largamente, announced
by the pianoforte, _e.g._

[Music]

This ends in F-sharp minor and is at once followed by a closing
portion, _i.e._, a repetition of the second theme with an elaborate
arpeggio accompaniment and some fragmentary phrases of the first theme
on the violin. Its last measures[281] are striking for the bold use of
augmented chords and for the wide spacing which gives an organ-like
sonority. The recapitulation, beginning in measure 63 with still
richer harmonization, is almost identical with the exposition; the
second theme appearing logically in the home key. The closing measures
of the coda, which starts in measure 97, illustrate Franck's genius in
the chromatic alteration of chords.

[Footnote 281: Note the correspondence between these measures in the
first part and the measures just before the end in the second part.]

The second movement, in a structural sense the most normal of the
four, speaks for itself. It is stormy and dramatic, with a number of
passages marked passionato and molto fuoco, and presents a rather
unusual side of Franck's quiet nature. The two themes are strong and
well contrasted: the first for the pianoforte, the second for the
violin, _e.g._

[Music: 1st theme]

[Music: 2d theme]

The development begins at the quasi lento, measure 80, with the second
(_b_) of the generative motives which is to play an important role in
the Fantasia and the Finale. It is rather broken up into sections, but
holds the interest through its unflagging rhythmic vigor and daring
dissonances. Franck's contrapuntal skill is shown here in the closing
measures (130-134) where a phrase from the second theme on the violin,
dolcissimo espressivo, is united with a phrase of the first theme on
the pianoforte, hinting at the return. The recapitulation, beginning
in measure 138, is perfectly normal and leads to a coda which,
becoming more and more animated, ends with brilliant bravura effects
for each instrument.

The third movement, entitled _Recitativ