The whole movement is strangely frugal of joyous abandon.  Instead of rolling, revelling melody there is stern proclamation, as of oracle, in the solemn pauses.  The rhythm is purposely hemmed and broken.  Restraint is everywhere.  Almost the only continuous thread is of the meditative fugue.

A single dulcet lyric verse (of the motto) is soon

[Music:  (Cellos with tremolo of lower strings)]

banished by a sudden lively, eccentric phrase that has an air of forced gaiety, with interplay of mystic symbols.  At last, on a farther height, comes the first

[Music]

joyous abandon (in a new mask of the motto), recurring anon as recess from sombre brooding.

Here the second subject has a free song,—­in gentle chase of pairs of voices (of woodwind and muted strings and harp) and grows to alluring melody.  As

[Music:  (Lower reed, with tremolo of lower strings)]

from a dream the eccentric trip awakens us, on ever higher wing.  At the top in slower swing of chords horn and reeds chant the antiphonal legend, and in growing rapture, joined by the strings, rush once more into the jubilant revel, the chanting legend still sounding anon in sonorous bass.

The climax of feeling is uttered in a fiery burst of all the brass in the former dulcet refrain from the motto.  In full sweep of gathering host it flows in unhindered song.  Somehow by a slight turn, the tune is transformed into the alluring melody of the second theme.  When the former returns, we feel that both strains are singing as part of a single song and that the two subjects are blended and reconciled in rapture of content.

A new mystic play of the quicker motto, answered by the second theme, leads to an overpowering blast of the motto in slowest notes of brass and reed, ending in a final fanfare.

All lightness is the Scherzo, though we cannot escape a Russian vein of minor even in the dance.  A rapid melody has a kind of perpetual motion in the strings, with mimicking echoes in the wood.  But the strange part is how the natural accompanying voice below (in the bassoon) makes a haunting melody of

[Music:  Vivo
(Violins doubled below in violas)
(Bassoon)
(Pizz. cellos)]

its own,—­especially when they fly away to the major.  As we suspected, the lower proves really the principal song as it winds on in the languorous English horn or in the higher reed.  Still the returning dance has now the whole stage in a long romp with strange peasant thud of the brass on the second beat.  Then the song rejoins the dance, just as in answering glee, later in united chorus.

A quieter song (that might have been called the Trio) has still a clinging flavor of the soil,—­as of a folk-ballad, that is not lost with the later madrigal nor with the tripping figure that runs along.

Strangely, after the full returning dance, an epilogue