The treatment of the pianoforte in those works in which it is supported by the orchestra shows less the influence of the organ style. Generally Franck had in mind the sonority of the organ and the movement of music proper to that instrument. In these works the function of the organ, so to speak, is given to the orchestra; and hence the pianoforte is free of all responsibility but that of adding its own special effects to the mass of sound. These are essentially simple. In the _Djinns_ there is some brilliant rapid work, a few solo passages of agitated character with wide rolling but not elaborate accompaniment figures. In the ‘Symphonic Variations,’ very noticeably a bigger and a finer work, there are solo passages of great breadth, and nearly all the variations make the piano prominent by means of its own effects. There are the passages of detached chords and double notes which seem to tinkle over the first variation, the remarkably wide spacing in the passage which follows, with the suggested movement of inner voices and the occasional touch upon high notes; the flowing figures, with again a suggested richness of inner voices, which pursue their smooth course over the 'cello solo; finally the more brilliant effects towards the end, especially those of the tossing chords, and of the difficult, leaping triplet figures. The pianoforte and orchestra were never more ingeniously combined than in those passages which the pianoforte introduces with a sort of double waltz movement and in which the orchestra subsequently joins with the theme in a decidedly cross rhythm, leaving the solo instrument free to add delicately melodious runs. The structure of the whole work, moreover, is musically interesting. Though the theme in F-sharp minor, announced simply by the pianoforte after several pages that are more or less introductory, may be regarded as the chief theme, there is another distinct and highly characterized theme--first given fully by the pianoforte in the magnificent solo passage (C-sharp minor) so prominent in these introductory pages. This, as well as the chief theme, is elaborately varied, and is ever and again throughout the work so cleverly combined with the chief theme, that one must regard the whole ultimately as a series of double variations.