ation (in
the upper register of the instrument) of the phrase just announced by
the 'cellos. In the fifth measure after R the basses begin, pizzicato
but forte, a modified statement of the second theme, accompanied by a
new counter melody on the pianoforte, dolce ma marcato, _e.g._

[Music]

This leads into a brilliant climax for orchestra alone based on the
first theme which, at the very end, modulates to E-flat major. Then
follows an episodical portion of unusual beauty--a long, dreamy
passage, dolce rubato, for solo pianoforte, in which the first theme
is merely hinted at in shadowy outlines, _e.g._

[Music]

Abounding in fascinating modulations and coloristic effects it shows
Franck's genius equally for real melodic germination with an avoidance
of all perfunctory manipulation of his material. This leads, four
measures after T, to an entrance _pp_ in the wood-wind, of a variant
of the first theme. Due to the effect of contrasted accents the
passage is most exciting--two rhythms being treated at once. A climax
for full orchestra brings us at V to a repetition of the former
pianoforte presentation of the first theme, followed as before, at W
by the counter-melody against the second theme, forte, in the basses.
The first theme, now in complete control, is here proclaimed most
eloquently in antiphonal form between the full orchestra and
pianoforte, _e.g._

[Music]

The work ends with a rapid iteration, molto crescendo, of the first
motive--in diminution. Now that we have reviewed the entire
composition, there is one feature worthy of special emphasis. The
structure as a whole (as we have stated) is clearly divided into three
main parts; but when we examine the third part by itself, we find that
it follows the lines of the sonata-form. For there is a first portion,
with a main theme in F-sharp major, and a second theme--the new
melody--in D major; the passage for pianoforte in E-flats major stands
for the development, and the movement concludes with a distinct third
portion, both first and second theme being in the home key. Thus the
structure represents a carefully planned union of the variation form
and the sonata-form which were special favorites of Franck. The work,
which, after earnest study, will surely be enjoyed and loved, ranks
with the _Istar Symphonic Variations_ by d'Indy and the two sets on
themes from Paganini by Brahms as the acme of what the variation form
may indeed be when treated by a master.