4th Movement: Allegretto poco mosso
Sonata Form:
Primary theme is written by canon. The theme flows very smooth and natural. There is no characteristic skips which associates M1. The theme may leave off M1 consciously which have been provided various expressions. M4 in Fig.1 is frequently used in the development section楽
Fig.1 Mes.1
Third Movement: Recitativo – Fantasia
Introduction by piano presents the following 4 measure phrase.
Fig.1 Mes.1
This phrase is extracted from the first movement M1, but the character of this phrase resembles the one from measure 59 of the first movement. It sounds unfriendly, and suggesting some depressing feelings. Then a recitativo by violin follows.
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
When I was still in my twenties, I heard the problem of Franck’s Violin sonata. The feeling of the first 3 movements is quite different from that of 4th movement in spite of his cyclic form to achieve uniformity. I felt maybe so, because I agreed the difference of the feeling, but I didn’t think it a problem.
But this problem dragged for many years. One day when I was reading a book about the Borgia family, I got an idea of literary interpretation for the problem from scandalous rumors about Lucrezia Borgia. I want to make it clear that my literary interpretation has no relations with Franck and/or Yseye. I’ll write my literary one later, and I l write here a usual musical interpretation first.
Form of the 1st movement is A-A’, However, It would be suitable to understand this movement as sonata form without a development section since the first theme is meticulously worked on the basic motive M1, and second theme is also carefully set as we usually see in sonata form.