IV.—­Finale. Awakening and merry dispute (double fugue).  Joyous conclusion.]

The “first theme” in “comfortable” pace, gliding

[Music:  1st Theme
Pleasantly
(Cellos and fagots)
Dreamily
(Oboe)
(Cellos, bassoons and horns)]

into a “dreamy” phrase, begins the symphony.  Presently

[Music:  Peevishly (Clarinets)]

a “peevish” cry breaks in, in sudden altered key; then on a second, soothing tonal change, a strain sings “ardently” in upward wing to a bold climax and down to gentler cadence, the “peevish” cry still breaking in.  The trumpet has a short cheery

[Music:  With fire (Strings)]

call (lustig), followed by a brisk, rousing run in wood and strings (frisch).  A return of the “comfortable” phrase is quickly overpowered by the “second theme,” in very lively manner (sehr lebhaft), with an answering phrase, grazioso, and light trills above.

[Music:  2d Theme With great spirit (Strings, wood, horns and harps) grazioso]

The incidental phrases are thus opposed to the main humor of each theme.  The serene first melody has “peevish” interruptions; the assertive second yields to graceful blandishments.  A little later a strain appears gefuehlvoll, “full of feeling,” (that plays a frequent part), but the main (second) theme breaks in “angrily.”  Soon a storm is brewing; at the height the same motive is sung insistently.  In the lull, the first phrase of all sings gaily (lustig), and then serenely (gemaechlich) in tuneful tenor.  Various

[Music:  (Largely in strings)]

parts of the first theme are now blended in mutual discourse.

Amidst trembling strings the oboe d’amore plays the “third theme.”  “Very tenderly,” “quietly,” the

[Music:  3d Theme Quietly (Strings) (Oboe d’Amore)]

second gives soothing answer, and the third sings a full melodious verse.

Here a loud jangling noise tokens important arrivals.  Fierce, hearty pulling of the door-bell excites the parents, especially the mother, who is quite in hysterics.  The father takes it decidedly more calmly.  The visitors presently appear in full view, so to speak; for “the aunts,” in the trumpets, exclaim:  “Just like Papa,” and the uncles, in the trombones, cry:  “Just like Mama” (ganz die Mama).  There can be no questioning; it is all written in the book.

It is at least not hazardous to guess the three figures in the domestic symphony.  Now in jolly Scherzo (munter) begin the tricks and sport of babyhood.  There is of course but one theme, with mere comments

[Music:  Gaily.  Scherzo (Oboe d’Amore) (Strings)]

of parental phrases in varying accents of affection.  Another noisy scene mars all the peace; father and child have a strong disagreement; the latter is “defiant”; the paternal authority is enforced.  Bed-time comes with the stroke of seven, a cradle-song (Wiegenlied) (where the child’s theme hums faintly below).  Then, “slowly and very quietly” sings the “dreamy” phrase of the first theme, where