[Music:  More gently (G string) (D string) (Strings) acc’t pizzicato]

And so the return to the vigorous rough dance is the more refreshing.  The merry mood yields to a darker temper.  “Wild” the strings rush in angry fugue on their rapid phrase; the quaint theme is torn to shreds, recalling the fierce tempest of earlier symphony.

But the first sad note of the Scherzo is in the recitative of horn, after the lull.  A phrase of quiet reflection, with which the horn concludes the episode as with an “envoi,” is now constantly rung; it is wrought from the eerie tempest; like refined metal the melody is finally poured; out of its guise is the theme now of mournful dance.

“Shyly” the tune of the waltz answers in softest oboe.  In all kinds of verses it is sung, in expressive duet of lower wood, of the brass, then of high reeds; in solo trumpet with counter-tune of oboe, finally in high flutes.  Here we see curiously, as the first themes reappear, a likeness with the original trumpet-call of the symphony.  In this guise of the first dance-theme the movements are bound together.  The envoi phrase is here evident throughout.

At this mystic stage, to pure dance trip of low strings the waltz reenters very softly in constant growing motion, soon attaining the old pace and a new fulness of sound.  A fresh spur is given by a wild motion of strings, as in the fugal episode; a new height of tempest is reached where again the distorted shreds of first dance appear, with phrases of the second.  From it like sunshine from the clouds breaks quickly the original merry trip of dance.

The full cycle of main Scherzo returns with all stress of storm and tragedy.  But so fierce is the tempest that we wonder how the glad mood can prevail.  And the sad envoi returns and will not be shaken off.  The sharp clash of fugue is rung again and again, as if the cup must be drained to the drop.  Indeed, the serious later strain does prevail, all but the final blare of the saucy call of brass.[A]

[Footnote A:  In the Scherzo are chimes, accenting the tune of the dance, and even castanets, besides triangle and other percussion.  The second movement employs the harp and triangle.]

III.—­4.  Adagietto.[A] “Very slowly” first violins carry the expressive song that is repeated by the violas.

[Footnote A:  The Adagietto is scored simply for harp and strings; nor are the latter unusually divided.]

[Music:  Adagietto (Strings and harp)]

A climax is reached by all the violins in unison.  A new glow, with quicker motion, is in the episode, where the violins are sharply answered by the violas, rising to a dramatic height and dying away in a vein of rare lyric utterance.

It is all indeed a pure lyric in tones.

III.—­5.  Rondo-Finale. The whole has the dainty, light-treading humor that does not die of its own vehemence.  Somewhat as in the Ninth Symphony of Beethoven,—­tyrant of classical traditions, the themes appear right in the beginning as if on muster-roll, each in separate, unattended song.  A last chance cadence passes down the line of voices and settles into a comfortable rhythm as prevailing theme, running in melodious extension, and merging after a