e-Fantasia_, is notable for its
long declamations for the violin alone, and for its introduction of a
theme from the preceding movement and of one to be repeated in the
Finale. Thus the organic relationship between the various movements is
shown and is still further emphasized in the Finale. The mood is often
very impassioned (once _fff_) and dramatic, with several passages
specifically marked. This music alone, which sounds like nothing
before or since, would stamp Franck as an absolutely original genius.
In measure 53 appears a long pianissimo meditation by the violin on a
phrase--the second generative motive (_b_)--from the preceding
movement, supported by beautifully spaced arpeggio chords on the
pianoforte, _e.g._

[Music]

In measure 71 occurs the first appearance of the bold theme which is
to be twice used for episodes in the Finale, _e.g._

[Music]

The closing cadence[282] of the movement, one of the most original and
truly beautiful in all literature as it seems to the writer, furnishes
a marvellous contrast to the stormy measures immediately preceding.

[Footnote 282: Already cited on page 57, Chapter IV.]

The Finale is perhaps the most spontaneous canon in existence, an
imitative dialogue between the two instruments; this form (which is
often rigid and mechanical) being used so easily that it seems as if
each instrument were naturally commenting upon the message of the
other. Observe also the sonorous background provided for the violin
melody by the widely spaced chords on the pianoforte, _e.g._

[Music]

The first episode, beginning in F-sharp minor at measure 38, is based
on the third generative phrase (_c_) brought over from the Fantasia
and embroidered by running passages (delicato) on the violin. This
leads to a return of the canonic first theme which, with an
interchange of statement and answer and with free modulations, is
developed to a brilliant climax--the canon still persisting--in the
dominant key of E major. Some transitional modulations, in which the
excitement cools down, bring us to the second episode, in B-flat
minor. This at first develops the phrase (_b_) from the middle part of
the second movement, _e.g._

[Music]

and later, also in the bass, a phrase from the main theme, _e.g._

[Music]

It is soon followed by a bold entrance of the dramatic theme from the
Fantasia which, twice presented--the second time grandioso--leads to a
thrilling cadence in C major. The third and