Yet, the process also goes on in other directions. Later this main motif is not only formally repeated in the recapitulation but it is reintroduced quite at the end of the piece, when Chausson plays with the cyclical form. First he seems to let the main theme for them first movement return, via its fragments in a long development. Then as a surprise in the psychological and tensional climax of the whole piece which I have called, in terms borrowed from the French existentialist philosopher Jean Wahl, a trans-descendence and trans-ascendence, it gives place to the main theme of the second movement. But this theme of redemption, as if the Proustian "lost Fatherland" were now rediscovered, does not remain the last word. The bold gesture of the beginning also recurs but is now united in a stretto in the bass with the cantabile theme in an overwhelming reconciliation and closure of all previous gestures in this piece. From here on the conversation can continue no longer. The music has stopped time. What has been Other has become the Same.
In fact this narrative technique is rather far removed from the German type of thematic construction which produces the "Greatness" in the music. Chausson very frequently lets the flow of gestures be stopped in the timeless feeling of verweile doch Du bist so schön series of dominant-seventh and ninth chords which do not serve any structural tension but which foreground the colour. This is what we easily consider to be something very "French".
However, the aim of my analysis, which I currently preparing, is to represent a kind of "semiotics without semiotics" as an answer to the question of what can remain of semiotics when all previously-articulated semiotic theories have been forgotten. Elsewhere, I have classified all the musical semiotic theories - in the epistemic sense - into two groups, the first of which starts with rules and grammars belonging to all music, emphasizing music's surface, which supposes that before the rules set by a theoretician there is just nothing - and consequently when the rules stop their functioning there remains nothing. This type of semiotics, as a philosophical 'style' rather than a systematic classification, I would call as "classical" semiotics. Here I am inspired by Taruskin's wonderful distinction, itself conceived after Boris de Schloezer (a music scholar Greimas once highly recommended I read) between civilisation and culture, beauty and profoundness, the sublime, etc. (Taruskin, p. 257). 1