Whilst a glance at the first movement would suggest a typical opening sonata-form, it actually functions as an extended slow introduction. Its main goal is to present us with the motivic material that will form the rest of the sonata. The fantasia-like approach is present from the outset, with a series of dominant 9ths in various inversions creating an ethereal atmosphere that is only enhanced by an absence of a tonic chord for the first seven bars. The second theme, on the other hand, is written solely for the piano and in a much more elaborate and virtuosic style that at times resembles Chopin’s, cadences first in F# minor and then C# minor, rather than the expected dominant. The thematic contrast between the two groups creates a delicate balance between the instruments, while also helping Franck to achieve a dreamlike quality in this movement that gives it a stark contrast to the virtuosic, instrumental nature of the second.
The second movement can be thought of as the “actual start” of the sonata. It’s in a fully developed sonata form, with a surprisingly meaty development section. Its turbulent, passionate themes and strict structure that follows the harmonic rules of sonata form serves as a complete contrast to the first movement, while also featuring moments that portray a sense of fantasia (most notably at the start of the development section), which actively recall the first movement’s atmosphere. Such moments in both movements serve to introduce the style of melodic writing that dominates the third movement. Seemingly free, it is split into two sections, the first of which consists of the two soloists answering each other with cadenza-like passages and some recollections of the opening theme of the sonata, before the second section introduces two ideas that become important in the construction of the final movement.
As it should be clear by now, the first three movements are intimately connected and can be often seen either anticipating or recalling one another. This culminates in the finale, which is solely constructed out of developed material from the past movements, bringing the sonata a strong and satisfying sense of closure. An integral aspect of the first three movements is a rhythmic uncertainty, or lilt, by means of a weakened downbeat. The first movement begins with an off-beat accentuation that creates a tentative, unresolved character, which the violin maintains with its entrance. The result is a weakened first bar (due to the off-beat entrance) that leads to a strong second bar, creating a sense of unease. Similarly in the second movement, the melody enters off the beat, placing the emphasis on the following bar. However, instead of resulting in a lilt, the off-beat pattern in the second movement emphasizes the agitated character of the theme. The third movement, being constructed out of free improvisatory figurations, is bound to be filled with rhythmic tension and uncertainty. One can think of the first three movements as searching for a resolution that only comes from the fourth movement. Unlike the material that comes before, the opening melody of this final movement begins with a pickup measure, finally offering us a theme that follows conventional phrase structures, which gives the melody solidity and calmness. Once again, through inter-movement relations, Franck molds the entire work into a single, over-arching structure.
Thank you for your analysis! In your description you mentioned that the 4th movement takes from the main theme of the first movement. However, I believe the 4th movement theme is closer to the secondary theme of the first movement which is more scalar and less built on thirds. An addition, if you consider the context of this piece being a wedding gift to Ysaye. In the first movement, the secondary theme is presented as a passionate lonely solo by the piano. Fast forward to the fourth movement, and we witness a transformation where this once lonely, passionate outburst evolves into a harmonious and serene lead-follow dynamic with violin. The journey from the intense emotion of the secondary theme in the first movement to its peaceful rendition in the fourth beautifully mirrors the narrative of a lonely soul finding a partner to sing together in harmony.
What a wonderful thought! I agree, the scalar nature of those two themes could be a connection, but I think that the oscilation at the head of theme 1 from the first movement, which is also present in the main theme of the finale, is a more recognisable element. We've heard it repeated in other movements as well and it generally got more attention than anything else in the sonata. But your interpretation still has its own merit and does work in context!
Recently I had the privilege of being able to see one of the greatest cellists of our time, Misha Quint, perform this with pianist Alexi Volodin. Though this was originally written for violin, and then transcribed for cello, it sounds just as majestic coming from the cello.
very interesting sonata! it's more like a sonata for piano and violin for me rather than just for violin, love this fantaisie sort of mood in the first movement with the key signature not being exposed after a short while almost, like Brahms! I also love how the violins rest for a few bars while the piano develops, like a conversation between the two
Franck's music is a strange (but rather wonderful) blend of Tristan-and-afterwards Wagner and proto-Impressionism. Stravinsky was very dismissive of Franck, but without him would there have been Fauré or Debussy, and therefore Stravinsky himself (at least in the form we know him)?
Musicologists generally view the form of 4th movement as free adaptation of sonata and rondo form in a progressive way. It can be better described as : A - B - ( a - b ) - A' - C - A'' - D - A"' - E - A"" demonstrating Franck's original conception.
I rarely write comments, but thank you very much for you thoroughly done work and a great educational channel. I'm just a regular software developer, and what I really like in classical music is that it has both emotional involvement and intellectual/analytical challenge, and you are doing a great job on demystifying the latter. Btw, is George Enescu's Octet on your to-do list? I find it a relevant question since both Frank and Enescu pursued thematic development through the sonata cycle.
Whilst a glance at the first movement would suggest a typical opening sonata-form, it actually functions as an extended slow introduction. Its main goal is to present us with the motivic material that will form the rest of the sonata. The fantasia-like approach is present from the outset, with a series of dominant 9ths in various inversions creating an ethereal atmosphere that is only enhanced by an absence of a tonic chord for the first seven bars. The second theme, on the other hand, is written solely for the piano and in a much more elaborate and virtuosic style that at times resembles Chopin’s, cadences first in F# minor and then C# minor, rather than the expected dominant. The thematic contrast between the two groups creates a delicate balance between the instruments, while also helping Franck to achieve a dreamlike quality in this movement that gives it a stark contrast to the virtuosic, instrumental nature of the second.
The second movement can be thought of as the “actual start” of the sonata. It’s in a fully developed sonata form, with a surprisingly meaty development section. Its turbulent, passionate themes and strict structure that follows the harmonic rules of sonata form serves as a complete contrast to the first movement, while also featuring moments that portray a sense of fantasia (most notably at the start of the development section), which actively recall the first movement’s atmosphere. Such moments in both movements serve to introduce the style of melodic writing that dominates the third movement. Seemingly free, it is split into two sections, the first of which consists of the two soloists answering each other with cadenza-like passages and some recollections of the opening theme of the sonata, before the second section introduces two ideas that become important in the construction of the final movement.
As it should be clear by now, the first three movements are intimately connected and can be often seen either anticipating or recalling one another. This culminates in the finale, which is solely constructed out of developed material from the past movements, bringing the sonata a strong and satisfying sense of closure. An integral aspect of the first three movements is a rhythmic uncertainty, or lilt, by means of a weakened downbeat. The first movement begins with an off-beat accentuation that creates a tentative, unresolved character, which the violin maintains with its entrance. The result is a weakened first bar (due to the off-beat entrance) that leads to a strong second bar, creating a sense of unease. Similarly in the second movement, the melody enters off the beat, placing the emphasis on the following bar. However, instead of resulting in a lilt, the off-beat pattern in the second movement emphasizes the agitated character of the theme. The third movement, being constructed out of free improvisatory figurations, is bound to be filled with rhythmic tension and uncertainty. One can think of the first three movements as searching for a resolution that only comes from the fourth movement. Unlike the material that comes before, the opening melody of this final movement begins with a pickup measure, finally offering us a theme that follows conventional phrase structures, which gives the melody solidity and calmness. Once again, through inter-movement relations, Franck molds the entire work into a single, over-arching structure.
Thank you for your analysis! In your description you mentioned that the 4th movement takes from the main theme of the first movement. However, I believe the 4th movement theme is closer to the secondary theme of the first movement which is more scalar and less built on thirds.
An addition, if you consider the context of this piece being a wedding gift to Ysaye. In the first movement, the secondary theme is presented as a passionate lonely solo by the piano. Fast forward to the fourth movement, and we witness a transformation where this once lonely, passionate outburst evolves into a harmonious and serene lead-follow dynamic with violin. The journey from the intense emotion of the secondary theme in the first movement to its peaceful rendition in the fourth beautifully mirrors the narrative of a lonely soul finding a partner to sing together in harmony.
What a wonderful thought! I agree, the scalar nature of those two themes could be a connection, but I think that the oscilation at the head of theme 1 from the first movement, which is also present in the main theme of the finale, is a more recognisable element. We've heard it repeated in other movements as well and it generally got more attention than anything else in the sonata. But your interpretation still has its own merit and does work in context!
Recently I had the privilege of being able to see one of the greatest cellists of our time, Misha Quint, perform this with pianist Alexi Volodin. Though this was originally written for violin, and then transcribed for cello, it sounds just as majestic coming from the cello.
very interesting sonata! it's more like a sonata for piano and violin for me rather than just for violin, love this fantaisie sort of mood in the first movement with the key signature not being exposed after a short while almost, like Brahms! I also love how the violins rest for a few bars while the piano develops, like a conversation between the two
Oh, this is definitely new
Very nice sheet vid!
Thank you!
Franck's music is a strange (but rather wonderful) blend of Tristan-and-afterwards Wagner and proto-Impressionism.
Stravinsky was very dismissive of Franck, but without him would there have been Fauré or Debussy, and therefore Stravinsky himself (at least in the form we know him)?
Well said! Franck was extremely influential on many fronts, and shouldn't be dismissed.
Musicologists generally view the form of 4th movement as free adaptation of sonata and rondo form in a progressive way. It can be better described as : A - B - ( a - b ) - A' - C - A'' - D - A"' - E - A"" demonstrating Franck's original conception.
Very nicely done! One small error: the coda in movement 2 begins at 14:16 rather than 13:16 :)
Thank you for the correction!
I rarely write comments, but thank you very much for you thoroughly done work and a great educational channel. I'm just a regular software developer, and what I really like in classical music is that it has both emotional involvement and intellectual/analytical challenge, and you are doing a great job on demystifying the latter.
Btw, is George Enescu's Octet on your to-do list? I find it a relevant question since both Frank and Enescu pursued thematic development through the sonata cycle.
That's great to hear! Haven't heard Enescu's Octet before, I'll check it out.
YOOOOO FRANCK
Rach 3 analysis when?
It's on my to-do list!
who are the performers? i noticed it's not in the description
The performers are Augustin Dumay & Jean-Philippe Collard. Thanks for letting me know!