CESAR FRANCK
Before an appreciation of the significant works and influence of Cesar
Franck can be gained, it is necessary to have a broad historical
perspective of what had been the trend and the limitations of French
music prior to his career. Since the time of Couperin and Rameau,
musical composition in France had been devoted almost exclusively to
opera--with its two types of grand opera and opera-comique--and in
this field there had been some French musicians of real, though
possibly rather slight, genius: Philidor, Mehul, Gretry, Boieldieu,
Herold and Auber. One searches in vain through French literature for
great symphonies, string-quartets, violin sonatas or pianoforte
compositions of significance. Berlioz, as we have seen, had composed a
number of orchestral works; but, from the standpoint of absolute
music, even these rather beg the question as they are so extremely
programmistic, dramatic or even theatric. This one-sided development
of French music was chiefly caused by the people's innate fondness for
the drama, and by the national genius for acting, mimicry and dancing.
Prior to the advent of Franck there were two important pioneers in the
broadening tendency which finally became noticeable, Saint-Saens and
Lalo. For great assimilative power, for versatility, for clarity of
expression and a finish and finesse peculiarly French, Camille
Saint-Saens (1835-still living) is certainly one of the most
remarkable musicians of the nineteenth century. His works are
numerous, always "well-made" and, though lacking in emotional depth,
by no means without charm and grace. They comprise ensemble works:
trios, etc., several concertos and symphonies and four symphonic
poems. Of these, the third concerto for pianoforte, with its Bach-like
introduction, the third violin concerto, the two symphonic poems, _Le
Rouet d'Omphale_ and _Phaeton_ and, in particular, the third symphony
in C minor, still hold their own. Whatever Saint-Saens has to say is
well said; and if the French have modified their previous opinion that
the only vehicle for musical expression was the opera, it is largely
through the influence of his compositions. This C minor symphony,
first performed in London in 1886, shares with Lalo's symphony in G
minor (1887) the claim to be, in all French literature, the first
instrumental work of large scope free from programmistic tendencies.
Saint-Saens[271] and Lalo fairly popularized the Sonata form and their
works are worthy of great respect; since, through them, the public
became accustomed to symphonic style and was prepared for the
subsequent greater works of Franck, d'Indy and Chausson. Although not
so versatile as Saint-Saens nor so varied in output, Eduard Lalo
(1823-1892) should decidedly not be overlooked. He was of Spanish
origin and this racial strain is noticeable in the vivacity of his
rhythm, in the piquant individuality of his melodies and in his
brilliant and picturesque orchestration. His characteristic work is
represented by a series of Concertos and Rhapsodies in which he
employs Spanish, Russian and Norwegian themes. He did not escape the
French predilection for operatic fame and his best work is probably
the well-known opera _Le Roi d'Ys_, from which the dramatic overture
is often played separately. His G minor symphony, however, will always
be considered an important landmark in the development of French
instrumental music.[272]
[Footnote 271: For further comments on the style and influence of
Saint-Saens see the essay Mason's _From Grieg to Brahms_; the article
by Professor E.B. Hill in the third volume of the _Art of Music_; and,
for some pungent and witty remarks, the Program Book of the Boston
Symphony Orchestra (edited by Philip Hale) for Nov. 22, 1918.]
[Footnote 272: For a comprehensive and discriminating account of his
style see the Boston Symphony Orchestra Program Book, for January 17,
1919.]
Cesar Franck (1822-1890) was a composer of such innate spirituality
that to analyze and classify him in a formal manner seems well-nigh
irreverent. His music once heard is never forgotten, and when
thoroughly known is loved for all time. Nor is an elaborate
biographical account necessary; for Franck, more than any other modern
composer, has been fortunate in that his life and works have been
sympathetically presented to the world by a distinguished
contemporary, his most famous pupil d'Indy--himself a gifted composer
and a man of rare literary powers. His biography of Cesar Franck (in
French and in English) should certainly be read by all who would keep
abreast of modern tendencies. Franck's message, however, is so
remarkable and his style so individual, that a few definite comments
may be made concerning the structural features of his work and the
essential attributes, thereby expressed, of his inspiring personality.
Franck was a Belgian born at Liege--one of that long line of musicians
who, though born elsewhere, have become thoroughly identified with
French thought and standards; and there is much in his music which
finds a parallel in the literary qualities of another Belgian artist,
Maeterlinck, for in both is that same haunting indefiniteness, that
same symbolic aspiration. Nothing in Franck is rigid, square-toed; his
music is suggestive of a mystic idealism, the full expression of
which, from its very nature is unattainable. Franck's outward life was
simple, without excitement or diversion of any kind. When he was not
giving lessons or composing, he was active in the service of the Roman
Catholic Church, in which he was a devout believer. For a number of
years he was organist at Sainte Clotilde, and his style thereby was
influenced strongly. A distinct note of religious exaltation runs
through much of his music; for Franck was a fine character, of
spotless purity of life and of such generosity and elevation of soul
that his pupils looked upon him as a real father and always called him
"Pater Seraphicus." He was universally acknowledged to be the greatest
improviser on the organ since Bach himself. Even Liszt, who heard him
in 1866, left the church, lost in amazement; evoking the name of the
great Sebastian as the only possible comparison.
Franck's services to the development of music are twofold: 1st, as an
inspired composer of varied works, which are more and more becoming
understood and loved; 2d, as a truly great teacher, among his notable
pupils being d'Indy, Chausson, Duparc, Ropartz, and the gifted but
short-lived Lekeu. In Franck's music, fully as remarkable as the
content--the worthy expression of his poetic nature--is its organic
structure. He was the first composer of the French School to use
adequately the great forms of symphonic and chamber music which had
been worked out hitherto by the Germans: Bach, Haydn, Mozart,
Beethoven, etc. If during the last thirty years, composers of the
modern French School have put forth a number of instrumental works of
large dimensions (chamber music, symphonies, symphonic poems and
pianoforte sonatas), it is to Franck more than to any other man, by
reason of his own achievements in these fields and his stimulating
influence on others, that this significant fact is due. A striking
feature of Franck's music is the individual harmonic scheme,
fascinating because so elusive. He was a daring innovator in
modulations and in chromatic effect; and has, perhaps, added more
genuinely new words to our vocabulary than any one since Wagner. The
basis of Franck's harmony is the novel use of the so-called augmented
harmonies which, in their derivation, are chromatically altered
chords. These are resolved by Franck in a manner remarkably free, and
are often submitted to still further chromatic change. In revealing
new possibilities he has, in fact, done for these chords what Wagner
did for the chord of the ninth. Any page of Franck's music will
exemplify this statement, and as an illustration we have cited, in the
Supplement, the first part of the Prelude in E major. A life-long
student of Bach and Beethoven, Franck believed--as a cardinal
principle--that great ideas were not enough; they must be welded
together with inexorable logic. And so his chief glory as a musical
architect is the free use he makes of such organic forms as the Canon,
the Fugue and the Varied Air. Franck was likewise a pioneer in
establishing in a sonata or symphony a new conception as to the
relationship of the movements. This he effected by the use of what may
be called "generative motives" which, announced in the first movement
of a work, are found with organic growth, modulatory and rhythmic, in
all the succeeding portions. Such a method of gaining unity had been
hinted at by Beethoven in his Fifth Symphony, was further developed by
Schumann and Liszt and, since the example of Franck, has become a
recognized principle in all large cyclic works. The following estimate
of his music by F. Baldensperger is worthy of citation. "The
contemplative character of Franck's music which explains his entire
technique is rare at the epoch in which his life was cast, an epoch of
realism, generally inspired by a taste for the picturesque and the
dramatic. Posterity will place Cesar Franck in a niche similar to that
of Puvis de Chavannes, whose inspiration, indifferent to all worldly
solicitations, flowed willingly, like that of Franck, into the paths
of reverie, and pursued its way like a beautiful river of quiet
waters, undisturbed by waves or rapids, and reflecting the eternal
calm of the sky."
As representative works[273] we have chosen, for analytical comments
the _D minor Symphony_ (Franck's only work in this field), the
_Sonata_ for violin and pianoforte and the _Symphonic Variations_ for
pianoforte and orchestra. Franck has also composed a very beautiful
Quintet for strings and pianoforte--considered by some the most
sublime chamber work of recent times; a String Quartet, notable for
its interrelationship of themes and movements; two elaborate
compositions for pianoforte solo, the _Prelude, Chorale and Fugue_
(the fugue showing a masterly combination of strict fugal style and
free form) and the _Prelude, Aria and Finale_; a wealth of organ
works--the three _Chorales_ being of special beauty--and several
Symphonic Poems of lesser importance. His purely vocal works,
oratorios and church music lie outside the province of this book.
[Footnote 273: On account of the length of these works it is
impossible to include any of them in the Supplement.]
The Symphony[274] in D minor is in three movements; the first in
complete and elaborate sonata-form, the second a fusion of the two
customary middle movements, and the Finale (though fundamentally on a
sonata-form basis) an organic summing-up of the chief themes of the
entire work. The first movement begins, Lento, with the main theme
proper (thesis) the motive[275] of which is the foundation of the
whole work, _e.g._
[Music]
[Footnote 274: Study, if possible, the orchestral score. For
class-room work there is an excellent four-hand arrangement by the
composer, and one for two hands by Ernest Alder.]
[Footnote 275: This terse phrase is identical with motives from
several other works, _e.g._, the beginning of Liszt's _Les Preludes_,
the motive "Muss es sein?" in Beethoven's quartet, opus 135, and the
Fate motive in Wagner's _Valkyrie_.]
The phraseology of the theme is noticeable for its flexibility; since
the first phrase is expanded to five measures and the second phrase
(antithesis), with a descending motive, to seven, _e.g._
[Music]
The harmony of this second phrase illustrates a striking feature in
Franck's style, namely the fact that his resolutions seldom come out
as expected but, instead, drift imperceptibly into other channels. In
measure 13 there begins a long series of modulatory developments of
the main theme--of a preludial nature--but _not_ a mere prelude in the
ordinary sense. That this entire opening portion is the _main body_
of the work is seen by a comparison with what takes place at the
beginning of the recapitulation. In measure 29, allegro non troppo, we
begin with a presentation of the motive in the usual first-movement
mood. The answering phrase, antithesis, is now quite different; and,
in measure 48, is developed--with some new contrapuntal voices--to a
half cadence in F minor. This whole portion, both the Lento and the
Allegro, is now repeated almost literally (the one slight change being
in measures 56-57) in this new key, a minor third higher than the
original. To begin a first movement in this way, _i.e._, with such a
strong contrast of moods is very novel and striking, but as Franck was
a devoted student of Beethoven, it would seem that, by presenting his
theme in different strata, he was simply expanding the practise[276]
of that master in order to impress his message upon the listener's
memory. The repetition of the Allegro part now leads through some rich
modulations to the entrance of the second theme, in measure 99. This
lovely melody, characteristic of Franck's tenderness,
[Music]
is noteworthy for the imitations between the violins and the 'cellos
and basses. It shows, furthermore, that peculiar quality in Franck's
style which comes from his elusive modulations. In measures 109-110 we
are at a loss to tell just what direction the music will take when
almost miraculously, in measure 111, we find ourselves in D-flat
major--in which key the whole theme is now repeated. Some stimulating
modulations bring us, in measure 129, to a most energetic and aspiring
melody, considered by some another part of the second theme, but which
certainly has the note of a closing theme and also the structural
position of a closing theme, _e.g._
[Music]
[Footnote 276: See for example the opening measures of the _Waldstein_
and of the _Appassionata_ Sonata.]
It is developed with great brilliancy through a series of mediant
modulations, in which the originality of Franck's harmonic scheme is
very apparent. The exposition ends with some dreamy, pianissimo
reminiscences of the closing theme in the mediant keys of F, D and B
major, delicately scored for the wood-wind instruments and horns. The
development begins, in measure 191, with the motive of the closing
theme which, combined with other phrases from the exposition, is used
persistently in the bass for a number of measures. The material is
developed climactically until, in measure 229, we find an impressive
treatment of the second descending phrase of the first theme--originally
in augmentation and later in diminution, _e.g._
[Music]
and
[Music]
The rest of the development is clearly derivable from material already
presented. After a final _ff_ climax there begins, in measure 287, a
series of beautiful entries _pp_ of the closing theme for the
clarinet, oboe and flute. This is the spot in a sonata-form movement
where appears the hand of the master; for the excitement of the free
fantasy must cool down without entirely dying out, and there must also
be a fresh crescendo of energy for the restatement of themes in the
part following. Franck handles the situation with convincing skill;
and some climactic measures, in which the main theme hints at the
return, lead us, in measure 333, to the recapitulation. This is one of
the most powerful and eloquent parts of the movement, for the whole
first theme is presented canonically--the announcement in the
trombones, tuba and basses being answered, a half measure later, by
trumpets and cornets. The rest of the recapitulation, with necessary
modulations and slight expansion, corresponds closely to the first
portion. The coda, beginning after the same echo-effects heard at the
close of the exposition, is founded on one of the counterpoints of the
first subject, _e.g._
[Music]
Gathering headway it leads to an imposing assertion _fff_, in canon
form, of the main motto which concludes, with a widely spaced chord,
in the brilliant[277] orchestral key of D major.
[Footnote 277: Brilliant by reason of the fact that the four principal
tones in D major, D, A, G, E are _open_ strings on the violin.]
The second movement begins with a series of subdued, pizzicato chords
(for strings and harp) which establish the mood and later furnish the
harmonic background for the main theme. This haunting melody,
announced--in measure 16--by the English horn and afterwards
strengthened by the clarinet and flute, is clearly derived from the
motto of the first movement, _e.g._
[Music]
and is a notable example of the free phraseology and long sweep
peculiar to Franck. Although extending 32 measures it never loses its
continuity, for every measure grows inevitably from what has preceded.
It begins with two identical eight-measure phrases; the second of
which, with a different harmonic ending, is varied by a cantabile
counter theme in the violas--causing thereby, with the upper voice,
some delightful dissonant effects. The last eight-measure phrase, also
varied by a counterpoint in the 'cellos, ends with a characteristic,
Franckian modulation; keeping us in suspense until the last moment,
and then debouching unexpectedly into B-flat major. In this key there
follows a long-breathed, cantabile melody--at first for strings alone,
but scored with increasing richness. It abounds in modulatory changes
and expresses, throughout, the note of mystical exaltation so
prominent in Franck's nature. It ends in measures 81-86 with an
eloquent cadence, largamente and pianissimo, in B-flat major and is
followed by a partial restatement of the first theme; thus giving, to
this portion of the movement, a feeling of three-part form. Then,
after some preliminary phrases, begins the piquant theme in G minor,
in triplet rhythm, which takes the place of the conventional Scherzo,
_e.g._,
[Music]
for, as we have stated, the structural feature of this movement is the
fusion of the two customary middle movements. This theme, mostly _pp_
(con sordini and vibrato)--daintily scored for strings and light
wood-wind chords--closes, in measures 131-134, with a cadence in G
minor. The following portion, beginning in E-flat major, but often
modulating--its graceful theme sung by the clarinets, dolce
espressivo, answered by flutes and oboes--_e.g._,
[Music]
evidently takes the place of a trio and is one of the most poetic
parts of the movement. After some effective development there is a
return, in measure 175, to the G minor scherzo-theme in the strings;
soon joined, in measure 183, by the slow theme on the English
horn--the structural union of the two moods being thus established,
_e.g._
[Music]
The rest of the movement is a free but perfectly organic improvisation
on the chief melodies already presented. It is richly scored, with
dialogue effects between the several orchestral choirs; especially
beautiful are the two passages in B major, poco piu lento, scored _pp_
for the complete wood-wind group and horns. The closing measures have
lovely echoes between wood-wind and strings, and the final cadence is
one of the most magical in all Franck; holding us off to the very last
from our goal and finally reaching it in a chord of unforgettable
peace and satisfaction, _e.g._
[Music]
The Finale in D major, allegro non troppo, is a remarkable example in
modern literature of that tendency, growing since Beethoven, not to
treat the last movement as an unrelated independent portion but,
instead, as an organic summing up of all the leading themes. This
cyclic use of themes--transferring them from one movement to
another--is one of Franck's important contributions to musical
architecture. The movement has two themes of its own, _e.g._
[Music: 1st theme]
[Music: 2d theme]
and at first proceeds along regular sonata-form lines, _i.e._, with an
exposition, development and recapitulation. After vigorous summons to
attention the first theme is given out by the 'cellos and bassoons. It
is expanded at some length, repeated _ff_ by the full orchestra, and
then after bold modulations leads, in measure 72, to the second theme
in B major, happily called by Ropartz the "theme of triumph."[278]
After a quieter portion of sombre tone in B minor we reach, in measure
124, an interpolation of the slow movement theme, _e.g._,
[Music]
sung by the English horn against a triplet accompaniment in the
strings; the fundamental beat--the time now changed from 2/2 to
3/4--preserving the same value. Now we begin to foresee that this
theme is to be the climax of the whole work. In measure 140 the
development proper is resumed; based, at first, on some modulatory and
imitative treatment of the first theme and followed by two _ff_
sostenuto announcements of the jubilant second theme. After these have
subsided there are a number of measures (piu lento) of a shadowy
outline, developed from preceding melodic phrases. The pace gradually
quickens, the volume of sound increases and we are brought, through a
series of pungent dissonances and stimulating syncopations, to a
brilliant assertion of the first theme in D major. This again waxes
more and more eloquent until it bursts into a truly apocalyptic
proclamation of the slow movement theme for full orchestra which,
closing in D major, is the real climax of the movement and indeed of
the work. Franck, however, still wishes to impress upon us some of his
other thoughts--they are really too lovely not to be heard once
more--and so, after an intermediary passage consisting entirely of
successive ninth chords,[279] there is a reminiscence of the whole
closing theme of the first movement now for low strings alone--the
violins playing on the G string--later for the wood-wind and finally
echoed by the high strings _ppp_. As this fades away we reach one of
the most inspired passages of the whole work--in its mood of
mysterious suggestion truly indescribable. Over a slow elemental kind
of _basso ostinato_ there appear first the dramatic motto and then
other portions of preceding themes, as if struggling to come to the
light. A long exciting crescendo leads to a complete statement of the
main theme of the Finale, with a canonic treatment 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._,
[Music]
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 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 _Recitative-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 last refrain is a complete
restatement of the original canon and closes in A major with a still
more brilliant imitative treatment of the passage formerly in the
dominant. The last measures--with the high trill on the violin and
cutting dissonances on the pianoforte--are far too exciting for mere
verbal description.
SYMPHONIC VARIATIONS FOR PIANOFORTE AND ORCHESTRA
This is one of Franck's most significant works, containing all his
individual characteristics: melodic intensity, novel chromatic harmony
and freedom of form combined with coherence. Franck always claimed
that the variation form, rightly treated, was a perfect medium for
free, imaginative expression; surely this work is a manifestation of
his belief. A careful study will justify the statement that his style
is founded on that of Bach and Beethoven; for the naturalness of these
melodic variations can be compared only with the _Passacaglia in C
minor_, and the general structure of the work finds its prototype in
the Finale of the _Heroic Symphony_. It is a set of free variations,
or rather organic transformations of two themes; the first sombre,
entirely in the minor, the second brighter, with some passing emphasis
on the major. The variations are not numbered and there are no rigid
stops; though, of course, when objective points are reached, there is
natural punctuation. The two themes, as follows--a striking example of
Franck's peculiar harmonic scheme--should be carefully studied, _e.g._
[Music: 1st theme]
[Music: 2d theme]
The work opens with a series of restless dotted notes for the strings
_ff_ which diminish and retard to an entrance of the first theme, piu
lento, for the pianoforte; the two phrases of which are interrupted by
a passage, somewhat modified, from the introduction. Some preludial
measures, expanding the material presented, bring us at B[283] to a
premonitory statement of the second theme _pp_ (in wood-wind and
pizzicato strings) over a muffled roll of the kettle-drums on C-sharp,
_e.g._
[Music]
[Footnote 283: The indication by letters is the same in the full score
as in the version for two pianofortes.]
Then follows a long rhapsodic presentation of the first theme for
pianoforte solo--the melody in octaves and the accompaniment in the
widest arpeggios possible. This passage is one of great sonority and
reveals clearly the influence of the organ upon Franck's style. Some
further measures of general development, containing 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 presentation (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.