In the close recurs the full flow of funeral song, with the hymnal harmonies.  In the refrain of the stormy duet the sting of passion is gone; the whole plaint dies away amid the fading echoes of the trumpet call.

I.—­2. The second movement, the real first Allegro, is again clearly in two parts.  Only, the relative paces are exactly reversed from the first movement.  In tempestuous motion, with greatest vehemence, a rushing motive of the basses is stopped by a chord of brass and strings,—­the chord itself reverberating to the lower rhythm.

[Music:  In stirring motion.  With greatest vehemence
(Brass and strings)
(Bass of wood and string)
(Trumpets)]

Throughout the whole symphony is the dual theme, each part spurring the other.  Here presently are phrases in conflicting motion, countermarching in a stormy maze.  It is all, too, like noisy preparation,—­a manoeuvring of forces before the battle.  Three distinct figures there are before a blast of horn in slower notes, answered by shrill call in highest wood.  There enters a regular, rhythmic gait and a clearer tune, suggested by the call.

[Music:  (Horns, oboes and 1st violins, G string)
(Strings and wood)
(Tuba and strings)
(Second violins)]

In the brilliant medley there is ever a new figure we had not perceived.  So when the tune has been told, trumpets and horns begin with what seems almost the main air, and the former voices sound like mere heralds.  Finally the deep trombones and tuba enter with a sonorous call.  Yet the first rapid trip of all has the main legend.

As the quicker figures gradually retire, a change of pace appears, to the tramp of funeral.  Yet the initial and incident strains are of the former text.  Out of it weaves the new, slower melody: 

[Music:  Much slower (in the tempo of the former funeral march)
(Oboes)
(Flutes and clarinets)
(Cellos)
molto cantando]

Throughout, the old shrill call sounds in soft lament.  Hardly like a tune, a discourse rather, it winds along, growing and changing naively ever to a new phrase.  And the soft calls about seem part of the melody.  An expressive line rising in the clarinet harks back to one of the later strains of the funeral march.

The second melody or answer (in low octaves of strings) is a scant disguise of the lower tune in the stormy duet of the first movement.  Yet all the strains move in the gentle, soothing pace and mood until suddenly awakened to the first vehement rhythm.

Before the slower verse returns is a long plaint of cellos to softest roll of drums.  The gentle calls that usher in the melody have a significant turn, upwards instead of down.  All the figures of the solemn episode appear more clearly.

On the spur of the hurrying main motive of trumpets the first pace is once more regained.