[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._,
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._