built on a design in minor,--would have less reason in the major. For it
rests on a degree that does not exist in the tonic major. To be sure,
Beethoven did invent the change to a lowered submediant in a succeeding
movement. And, of course, the final turn to the tonic major is virtually
as great a license.]

_Lento_ in basses of the strings a strain sounds like a basic motive,
answered with harmonies in the wood. In further strings lies the full
tenor of quiet reflection, with sombre color of tonal scheme. Motives
are less controlling probably in Franck than in any other
symphonist,--less so, at any rate, than his one

[Music: _Lento_]

special mood and manner. Yet nowhere is the strict figural plot more
faithful in detail than with César Franck.

The theme has an entirely new ring and answer when it enters Allegro
after the Lento prelude. The further course of the tune here is in
eccentric, resolute stride in the descending scale. Our new answer is
much evident in the bass. The Allegro seems a mere irruption; for the
Lento prelude reappears in full solemnity. Indeed, with all the title
and pace, this seems very like the virtual "slow" movement. A mood of
rapt, almost melancholy absorption prevails, with rare flashes of joyous
utterance, where the Allegro enters as if to break the thrall of
meditation. A very striking inversion of the theme now appears. The
gradual growth of phrases in melodious instalments is a trait of Franck
(as it is of Richard Strauss). The rough motto at each turn has a new

[Music: _Allegro non troppo_