ng at E a
reminiscence of the first theme, bring us (after an elaborate
half-cadence on the dominant of F-sharp minor) to the entrance of the
second theme. Now that all the melodic material has been presented,
Franck allows it to grow and blossom. In the first variation at F we
have phrases of the second theme broken up into a dialogue between
strings, wood-wind and pianoforte; and in the second at G the violas
and 'cellos sing the whole second theme accompanied by some ingenious
figuration on the pianoforte. This is followed at H by a brilliant
amplification for the solo instrument, lightly accompanied on the
orchestra, of phrases already heard and leads at I to a fortissimo
orchestral tutti in D major--the next variation--which proclaims a
portion of the second theme. This is developed with great power on
both instruments and is combined, nine measures after J, with a
variant of the first theme. At K there is a bold treatment of the
second theme (sostenuto) for oboes and clarinets against rushing
octaves on the pianoforte.

At L we have some further development of the second theme, the melody
being in the strings with a background of broken triplet chords on the
pianoforte. We now reach at M--molto piu lento--the most poetic
variation of the work. All the 'cellos, dolce e sostenuto, sing the
second theme in the rich key of F-sharp major, the closing phrases
answered by the wood-wind; while the pianoforte supports them with
coloristic, arabesque-like broken chords containing a melodic pattern
of their own. At N the 'cellos continue with phrases from the first
theme, the accompaniment being in extended arpeggios against a
background of sustained strings (_ppp_ con sordino). A climax is
gradually reached which ends, smorzando, with a descending chromatic
run on the pianoforte, followed by a long trill on C-sharp which
ushers in the closing portion of the work. The structure, as a whole,
is divided into three main portions: the first preludial, the second
sombre and often meditative--largely in the minor--the third entirely
in the major and of extraordinary brilliance and vivacity. At the
Allegro non troppo after the trill, we find a variant of the first
theme for the 'cellos and basses in F-sharp major, _e.g._,

[Music]

accompanied by broken chords on the pianoforte and wood-wind. This is
followed at P by a free treatment for pianoforte, con fuoco, of the
first theme which develops at Q into a most pianistic present