In mystic echoing groups on the former descending answer of main theme the mood deepens in darkening scene.  Here moves in slow strides of lowest brass a shadowy line of the second melody answered by a poignant phrase of the first.  Striking again and again in higher perches the dual song reaches a climax of feeling in overpowering burst of fullest brass.  In masterful stride, still with a burden of sadness, it has a solacing tinge as it ends in a chord with pulsing harp, that twice repeated leads back to the stirring first song of main theme.

Thence the whole course is clear in the rehearsal of former melodies.  Only the pensive air has lost its melancholy.  Here is again the lyric of warm-hued horns with plaintive higher phrase, and the full romance of second melody with its timid answer, where the nervous trip rouses slowly the final exultation.  Yet there is one more descent into the depths where the main melody browses in dim searching.  Slowly it wings its flight upwards until it is greeted by a bright burst of the second melody in a chorus of united brass.  And this is but a prelude to the last joint song, with the inverted theme above.  A fanfare of trumpets on the second motive ends the movement.

The Romanze is pure song in three verses where we cannot avoid a touch of Scottish, with the little acclaiming phrases.  The theme is given to the saxophone (or cello) with obligato of clarinet and violas; the bass is in bassoons and pizzicato of lower strings.  One feels a special gratitude to the composer who will write in these days a clear, simple, original and beautiful melody.

The first interlude is a fantasy, almost a variant on the theme in a minor melody of the wood, with a twittering phrase of violins.  Later the strings take up the theme in pure cantilena in a turn to the major,—­all in expressive song that rises to a fervent height.  Though it grows out of the main theme, yet the change is clear in a return to the subject, now in true variation, where the saxophone has the longer notes and the clarinet and oboe sing in concert.

There follows a pure interlude, vague in motive, full of dainty touches.  The oboe has a kind of arioso phrase with trilling of flutes and clarinets, answered in trumpets and harp.

Later the first violins (on the G string) sing the main air with the saxophone.

A double character has the third movement as the title shows, though in a broadest sense it could all be taken as a Humoreske.

With a jaunty lilt of skipping strings the lower reeds strike the capricious tune, where the full chorus soon falls in.  The answering melody, with more of sentiment, though always in graceful swing with tricksy attendant figures, has a longer song.  Not least charm has the concluding tune that leads back to the whole melodious series.  Throughout are certain chirping notes that form the external connection with the Humoreske that begins with strident theme