(molto robusto) of low strings, the whole chorus, xylophon and all, clattering about, the high wood echoing like a band of giant crickets,—­all in whimsical, varying pace.  The humor grows more graceful when the first melody of the Intermezzo is lightly touched.  The strange figure returns (in roughest strings and clarinet) somewhat in ancient manner of imitation.  Later the chirruping answer recurs.  Diminishing trills are echoed between the groups.

Slowly the scene grows stranger.  Suddenly in eerie harmonies of newest French or oldest Tartar, here are the tricks and traits where meet the extremes of latest Romantic and primeval barbarian.  In this motley cloak sounds the typical Yankee tune, first piping in piccolo, then grunting in tuba.  Here is Uncle Sam disporting himself merrily in foreign garb and scene, quite as if at home.  If we wished, we might see a political satire as well as musical.

After a climax of the clownish mood we return to the Intermezzo melodies.

The Finale begins in the buoyant spirit of the beginning and seems again to have a touch of Scotch in the jaunty answer.  The whole subject is a group of phrases rather than a single melody.

Preluding runs lead to the simple descending line of treble with opposite of basses, answered by the jovial phrase.  In the farther course the first theme prevails, answered with an ascending brief motive of long notes in irregular ascent.  Here follows a freer flow of the jolly lilting tune, blending with the sterner descending lines.

Balancing this group is an expressive melody of different sentiment.  In its answer we have again the weird touch of neo-barbarism in a strain of the reed, with dancing overtones of violins and harp, and strumming chords on lower strings.  Or is there a hint of ancient Highland in the drone of alternating horns and bassoons?

Its brief verse is answered by a fervent conclusive line where soon the old lilting refrain appears with new tricks and a big celebration of its own and then of the whole madrigal of martial melody.  It simmers down with whims and turns of the skipping phrase into the quiet (tranquillo) episode in the midst of the other stress.

[Music:  (With lower 8ve.) Tranquillo (With pizz. quarter notes in basses and strings)]

The heart of the song is in the horns, with an upper air in the wood, while low strings guard a gentle rhythm.  A brief strain in the wind in ardent temper is followed by another in the strings, and still a third in joint strings and wood. (Again we must rejoice in the achievement of true, simple, sincere melody.) The final glowing height is reached in all the choirs together,—­final that is before the brass is added with a broader pace, that leads to the moving climax.  As the horns had preluding chords to the whole song, so a single horn sings a kind of epilogue amid harmony of strings and other horns.  Slowly a more vigorous pulse is stirred, in an interlude of retorting trumpets.