Second Movement

Allegro (Sonata form)

After a very impressive 4 measure introduction, the first theme (Theme1) is presented by a piano as shown in Fig.1 which I modified for simplicity.

Fig.1 Mes.4

M2 is presented as Theme1 of sonata form. M2 includes 3 upward motives and it has a strong impulsive character. Theme1 is presented by the piano and followed by unison of the piano and the violin. Then a transition section follows as shown in Fig.2
Fig.2 bar 24

After a phase shown in Fig 3, which is played by the violin with pp., Theme1 comes back with ff.
Fig.3 bars 30

It would be a hard work for pianists to prepare this pp. According to Franck’s indication, pp is required by dim subito in the bar 28 against a crescendo starting from the bar 26. To realize this indication in tempo looks extremely difficult.

Thema1 comes back at bar 34, and M1 which is the basic motive from the first movement appears with “sempre forte e appasionato’ like a triumphal fanfare. (Fig.4) In the first movement, M1 had a mild and unstable character and it had asking something. Here, M1 is declaring “I am right”
Theme1 section connects to Theme2 section with ritardando.

Fig.4 bar 44

The second theme (Theme2) sounds free and easy. It has a good contrast to Theme1 and it is played in one stroke by the violin for 19 bars.

Fig.5 bar48

Thema2 ends ant bar 66 with rallentando. Codetta starts in poco piu lento by the violin as shown in Fig.6. The exposition is closed in the drifting mood tinted by resounding Theme2.

Fig.6 bar 67

Development：
There is no repeat mark at the end of Exposition, but the composer is successful to give the feeling of repeat by his superb technique.
As shown below, 4 half notes in quasi lent is a modified M2 and symbolizes Theme1. Franck did not use M2 but he used the chord procession of Theme2 instead. After this phrase, he connects the phrase from Codetta. In this way he reminded listeners and players of the Exposition section and the style of sonata form.

Fig.7 bar80

Then “Tempo I allegro” follows and a development section actually begins from bar 94.

Development section mainly proceed with the combination of the piano which presents M2 (Modified) and the violin which replies to M2 with fantastic recitativo. After the piano plays Theme2, stretta by M2 appears and it leads music to a climax. Recapture starts from bar 136.  

Recapitulation:

As shown in the Music Analysis, There is not much to comment on the recapitulation section.

Coda:
Coda is led by a motive from Primary Theme as shown in Fig 8 Mes.202 with ‘animato poco a poco’ . Then modified Primary Theme is played by violin and piano in a tense mood. From measure 217 M1 appears abruptly with “ poco slargando” and 2^nd movement finish brilliantly.

Fig.8 Mes.202

 

2nd Movement
Exposition	Introduction	1	–	3	3
	Theme1	4	–	13	10	Main Theme of 2nd Mov
	Theme1	14	–	23	10
	Passage1	24	–	29	6
	Passage2	30	–	33	4
	Theme1	34	–	43	10
	Passage3	44	–	47	4	from M1
	Theme2	48	–	67	20	Free Malody ends by M1
	Closing	66	–	79	14
Development	Thema1	80	–	87	8	Abridged  Thema1 Basic Motive M2
	Closing	89	–	93	5
	Thema1	94	–	101	8
	Closing	102	–	109	8
	Theme1+	109	–	116	8
	Theme1+	116	–	127	12
	Thema2	127	–	130	4
	closing	130	–	137	8
Recapture	Theme1	138	–	147	10
	Passage1	148	–	153	6
	Passage2	154	–	157	4
	Theme1	158	–	167	10
	Passage3	168	–	171	4	from M1
	Theme2	172	–	191	20
	Closing	191	–	202	12
Coda	Theme1	202	–	217	16
	Closing	217	–	222	6
	Coda	222	–	229	8