Music: An Art and a Language Part 23

The harmony of this second phrase ill.u.s.trates 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, ant.i.thesis, 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 repet.i.tion 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,

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is noteworthy for the imitations between the violins and the 'cellos and ba.s.ses. 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._

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[Footnote 276: See for example the opening measures of the _Waldstein_ and of the _Appa.s.sionata_ 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 ba.s.s 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._

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and

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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 ba.s.ses 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._

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Gathering headway it leads to an imposing a.s.sertion _fff_, in canon form, of the main motto which concludes, with a widely s.p.a.ced chord, in the brilliant[277] orchestral key of D major.

[Footnote 277: Brilliant by reason of the fact that the four princ.i.p.al 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._

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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._,

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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._,

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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._

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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 pa.s.sages 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._

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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 ba.s.soons. 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._,

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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 a.s.sertion 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 pa.s.sage 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 pa.s.sages of the whole work--in its mood of mysterious suggestion truly indescribable. Over a slow elemental kind of _ba.s.so 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._

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[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 pa.s.sage 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 cla.s.s. 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._,

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the rising and falling inflexion of which he typifies by what is called a "torculus" ([torculus symbol])! Whether such minute a.n.a.lysis is necessary for the listener may be open to question; but it is true that in hearing the work one is struck by the h.o.m.ogeneity of the material. The first movement is an impa.s.sioned kind of revery--in a mood more often a.s.sociated 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._

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[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._

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This ends in F-sharp minor and is at once followed by a closing portion, _i.e._, a repet.i.tion 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 s.p.a.cing 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, ill.u.s.trate 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 pa.s.sages marked pa.s.sionato 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, ent.i.tled _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 impa.s.sioned (once _fff_) and dramatic, with several pa.s.sages specifically marked. This music alone, which sounds like nothing before or since, would stamp Franck as an absolutely original genius.