Again and again is the climax rung on the first high note of the theme.  Then, in lieu of cadence, out of a bright dissonance the quick notes dance upward in sturdy pace, the answer of the Allegro in sharp disguise.  And then from the height descends a refreshing spray of subtlest discords, ending in another masterful burst of new harmony.

The dainty, dazzling play is stopped by a rough thud of basses and a fierce clang of chords.  In the sharp blare of brass on the ascending phrase is almost lost the original motto in lowest basses.  It is now heard in gradually quickened speed, while the rising phrase runs more timidly.  At last the quickened motto sinks gently into lulling motion, un peu plus modere.  Above, in strings and horns, the melody haunts us with a dim sense that takes us to the first languishing answer of the original legend.  And the whole is strong-knit; for the very Allegro theme began in resolute mood of a like figure.  A counter-strain rises to meet the main phrase.  The whole episode is an intertwining of song in the vein of the first answer of motto.

The quick rising notes suddenly return with snatches of the main motive, the chain of echoing phrases runs a gamut of moods, fitful, anxious, soothed, until the bright upward trip begins anew, with the enchanting burst of chord and descending harmonies.  A climactic height is stressed by a rough meeting of opposing groups, in hostile tone and movement, ending in a trill of flutes and a reentry of the episode.

In the returning Allegro the thread is still the same, though richer in color and texture.  Again there is the plunge into dark abyss, with shriek of harp, and the ominous theme in the depths.  The slow ascending phrase here has a full song and sway.  The end is in spirited duet of two quick motives.

The second movement, moderement lent, begins in revery on the answer of original motive, and the stately pathos of the theme, in horns, clarinets and violas, with rhythmic strings, grows naturally out of the mood.

Plus anime, in subtle change of pace (from 6/4 to 3/2), the episode begins with eccentric stride of harps (and added woodwind), that serves as a kind of

[Music:  Moderement Lent. (Melody in horns, clarinets and violas) (Acc’d in strings)]

accompanying figure and foil for the sweeping song of the real second melody (in oboe solo, succeeded by the clarinet).

[Music:  (Oboe solo) Tres espress. (Violins) (Acc’t in bassoons, horns, harps and basses)]

In the clash of themes and harmonies of the climax, the very limits of modern license seem to be invoked.  Later the three themes are entwined in a passage of masterly counterpoint.

There is a touch of ancient harmony in the delicate tune of third movement, which has the virtue of endless weaving.  It is sung by solo violin, mainly supported by a choir of lower strings.