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Still on Franck's Sonata

© Yen Loong Teoh

Cesar Franck left us the greatest romantic violin sonata to enjoy. In this sonata Franck used his 'cyclical' form of composition, where a single music motif, is transformed and manipulated with different approaches in successive movements. By listening to it the listener could easily distinguish what the principal motif is.

The sonata starts off with an allegretto moderato. The piano begins by playing softly a soothing but very dreamy introduction which lasts for 4 bars. Then the violin enters. At first it is just a simple melody, but as the singing tone progresses, it expands to become an emotionally luxuriant song. The second subject is composed exclusively for the piano. It is highly romantic in expression, and in some times, it could actually portray the fragrance of ardent romanticism. This entire movement is something highly appropriate to be played during a grand dinner, for from start till the end, it is never exhausted in emotion and passion, yet played so subtly and expressively at the same time.

The pleasing first movement is taken a twist with the second movement, allegro. Highly rhapsodic and turbulent, the piano leads the way first, then the violin joins in like a small boat wavering amidst a storm-ridden sea, following the sea waves that roll violently but never allowing itself to be submerged. The violin is still 'on top' of the piano albeit of the dizzying chords of the accompanying piano. Around the middle of the movement, the storm subdues to a quiet melody on the violin, yet still it anticipates further chaos. We have not enough of the tranquility -- and the storm arrives again, though this time not as dramatic as the first part.

After the chaotic vortex of musical notes, we are greeted by Recitativo-Fantasia, moderato. This movement is absolutely achingly beautiful. Immediately the piano brings the listener into a realm reaching the level of subconscious and a dreamy mood creeps in involuntarily. The violin dramatically begins with a thrilled D' followed by a full chord of G-Eb-Bb'-G'', followed by a voluptuous melody that is unmistakably French. This first theme is then repeated twice but in different keys later in the movement. The original motif of all movements is manipulated but played in a very obvious manner in later half of the movement. Near the end of the movement, it is played again, but with such gentleness and sweetness, we are brought to a sighing end. We are waking up from a dream indeed!