As is the way with symphonies, it must all be sung and striven over again to make doubly sure.  Only there is never the same depth of lament after the triumph.  In a later verse is an augmented song of the answer of trumpet legend, in duet of thirds, in slow, serene pace, while the old lament sounds below in tranquil echoes and united strains.  Before the end, molto piu vivace, the answer rings in new joyous rhythm.

Somewhat the reverse of the first movement, in the second the emotional phase grows slowly from the naive melody of the beginning.  Against the main melody that begins in oboe solo (with pizzicato strings), semplice ma grazioso, plays later a rising

[Music:  Andantino in modo di canzone
(Clarinet with lower 8ve.)
(Cello)
Grazioso
(Bassoons, with pizz. basses)]

counter-theme that may recall an older strain.  The second melody, in Greek mode, still does not depart

[Music:  (Strings, wood and horns)]

from the naive mood, or lack of mood.  A certain modern trait is in this work, when the feeling vents and wastes itself and yields to an impassive recoil, more coldly impersonal than the severest classic.

A sigh at the end of the second theme is a first faint reminder of the original lament.  Of it is fashioned the third theme.  A succeeding climax strongly

[Music:  Piu mosso (Clarinet doubled below in bassoons) (Strings)]

brings back the subjective hue of the earlier symphony.  A counter-theme, of the text of the second melody of Allegro,—­now one above, now the other—­is a final stroke.  Even the shaking of the trumpet figure is there at the height, in all the brass.  Yet as a whole the first melody prevails, with abundant variation of runs in the wood against the song of the strings.

The Scherzo seems a masterly bit of humor, impish, if you will, yet on the verge always of tenderness.  The first part is never-failing in the flash and sparkle of its play, all in pizzicato strings, with a wonderful daemonic quality of the mere instrumental effect.  Somewhat suddenly the oboe holds a long note and

[Music:  Pizzicato ostinato Scherzo Allegro (Strings) (Pizzicato sempre)]

then, with the bassoons, has a tune that is almost sentimental.  But presently the clarinets make mocking

[Music:  (Oboes and bassoons)]

retorts.  Here, in striking scene, all the brass (but the tuba) very softly blow the first melody with eccentric halts, in just half the old pace except when they take us by surprise.  The clarinet breaks in with the sentimental tune in faster time while the brass all the while are playing as before.  There are all kinds of pranks, often at the same time.  The piccolo, in highest treble, inverts the second melody, in impertinent drollery.  The brass has still newer surprises.  Perhaps the best of the fooling is where strings below and woodwind above share the melody between them, each taking two notes at a time.