Franck- Symphony in D Minor, Part II
We continue our discussion of Cesar Franck’s Symphony in D Minor with Movements II and III.
- Lento- Allegro ma non troppo
- Allegretto
- Allegro ma non troppo
II. Allegretto
The second movement is an odd combination of Rondo and Theme and Variation form. It begins with the strings and harp playing a bare-bones version of theme one pizzicato- plucked. The english horn fills out the theme (0:34) and is joined by the orchestral strings at 0:51. The horns enter at 1:09 before a rich orchestral countermelody begins at 1:28.
At 1:48 quiet string figures play beneath a new theme (a trio?) in the violins that climbs steadily before peaking at 2:06. The melody descends and trumpets are heard in a passage beginning at 2:27 that sounds off balance- a long note (crescendo) followed by two short notes- echoed by the strings. A descending scale in the orchestra at 3:07 leads to a reprise of the first phrase of theme one in the english horn followed by the horn.
At 4:03, nervous-sounding violas play a furtive figure soon interrupted by a wind choir. The violas return, this time interrupted by the strings. More winds at 4:30 sequence their motive downwards, leading to the viola figures playing quietly over a heavy, plodding theme one in the low voices.
At 5:44 we enter a second contrasting section, the melody first heard in the clarinet. The violas continue to bustle in the background as the rest of the orchestra embraces the new theme at 6:00. The strings repeat this second contrasting theme at 6:48 with low rumbles in the timpani before a lilting clarinet gives way to a square flute pattern, leading us back into theme one (7:10).
The violas are still busy as the english horn re-enters at 7:27. A momentary uprising and a glimpse of major from the strings is soon over, as theme one returns at 7:59. The four-note descent from the last phrase of theme one starts repeating in the winds around 8:38, leading to a beautiful flute and brass melody that brings back a string variation of the second contrasting theme we heard in the clarinet at 5:44. The music grows with the entrance of the brass at 9:39 playing a modified version of the first contrasting theme heard in the strings at 1:48. A descending wind line (10:13) soon ascends again against warm harmonies in the strings and horns before a dialogue of three note motives between the strings and winds (10:26) leads to a peaceful but very full-sound orchestral ascent (10:41).
The movement ends with a rising arpeggio in the harp and a wind chord.
III. Allegro ma non troppo
The third movement begins with an “in-your-face” introduction with loud string tremolos and forte timpani. The first theme of the movement is heard in the cellos and bassoon over string tremolos. In the strings a fast, 3-note motive begins around 0:17, steadily growing louder over brass chords until the orchestral statement of the theme begins at 0:34. The theme is passed through various wind instruments before a quiet brass chorale plays theme two.
Theme two (1:08) is based on a two-note ascent followed by a 3-note descent. This motive is answered by embellishing strings before the first two phrases are repeated sequenced upwards. Theme two motives are heard in the cellos and winds before the cellos play a mysterious variation in minor beginning at 1:49. The strings ascend and descend twice, ending the phrase with triplet figures that usher in the return of the second movement opening theme in the english horn (2:34). This soon modulates back to major as the violins play a shimmering theme one (3:10), soon repeated by the cellos, clarinet, and flute. The first phrase of the theme is repeated in the strings and extended by the flutes. The first phrase is repeated again (3:44), but this time gains more steam with the brass playing a pair of rising and falling arpeggios (3:53), followed by a crescendo that climaxes at 4:03 with the basic motive of theme one. This motive is played several times throughout the orchestra before the music slows and pauses at 4:44.
A brief return of the sly-sounding theme one of the second movement follows interrupted by swelling string lines. The music begins to become more desperate and dark, and a 4-note descent at 5:48 plunges the movement into a chaotic section featuring a series of rising and falling triplets which sequence upwards and crescendo before building to yet another climax at 6:14, the darkness eliminated by theme one.
Just as we think we’re home free, an abrupt modulation and harsh brass chords (6:45) brings back theme one of the second movement in the full orchestra. The funeral march nature of this theme is full explored, with mournfully rolling drums in the dark key of D Minor. Another modulative brass chord at 7:18 brings us back into major and a series of 4-note descents in the strings and winds. A more solemn, reflective rendition of theme one sounds in the cellos at 7:40 followed by the clarinet. High, cloud-like strings almost breath theme one over sustains in the low voices, ending the recapitulation.
At 8:41 the coda begins with a flute chord over a steady, repeated bass figure. Fluttering harp lines and soft trumpet and timpani sustains do nothing to give away what’s coming. The strings quietly play fragmented theme one motives, answered by more trumpet, harp, and timpani. Theme two of the first movement appears in the strings and winds at 9:10. At 9:37 theme two of the first movement is heard in the upper voices and you can just make out theme one of the third movement being played underneath. The brass join in with theme two of the first movement and the strings play theme one of the third movement a little louder. By now it’s clear what’s happening- the two themes are gradually merging together! The two triumphant themes of the outer movements finally join at 9:55 in a loud, fanfare-like passage in the brass before quickly dropping to piano. More movement 3, theme one motives in the strings (10:07) along with pointed brass chords turn into frantic string descents above a rising brass line. At 10:23 the final, triumphant first phrase of theme one is repeated in the brass and strings before a rising string arpeggio and a final tutti chord end the symphony.
The only symphony Franck wrote in his long and circuitous musical career, the Symphony in D Minor is not only Franck’s most popular work, but without doubt the most popular French symphony besides Berlioz’s. This was actually the first piece I played in my college orchestra, and even then when I knew next to nothing about music theory in general I remember thinking to myself, “Huh… that’s…different.” Indeed it is, but in a very good way.
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If you are interested in listening to a recording, I recommend Ricardo Muti’s 1999 recording with the Philadelphia Orchestra on EMI. You can buy this recording from Amazon by clicking on the image below. Alternatively, you can purchase this recording from the iTunes Music Store often at a reduced price by following the link below.
This article is part of the Music 365 series. To find out more about this project, please visit the project homepage.
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