ceeded 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.

A final conclusive line is given by the solo flute. Besides the constant
course of varying tune, there is a power of ever changing harmony that
seems to lie in some themes.

[Music: _Modere_
(Viola solo)
_Tres simplement_]

One can hardly call it all a Scherzo. It is rather an idyll after the
pathos of the Andante. Or, from another view, reversing the usual order,
we may find the quality of traditional Trio in the first melody and a
bacchanale of wild humor in the middle. For, out

[Music: _Tres anime_
(Woodwind and strings)]

of a chance phrase of horns grows of all the symphony the boldest
harmonic phrase (repeated through ten bars). Above rings a barbarous
cry, in defiance of common time and rhythm.

Suddenly we are surprised by the sound of the martial stride of the
second theme of the Andante which moves on the sea of rough harmony as
on a native element. One whim follows another. The same motion is all
there, but as if in shadow, in softest sound, and without the jar of
discord; then comes the fiercest clash of all, and now a gayest dance of
the first tune, _assez vif_, in triple rhythm, various figures having
their _pas seul_. A second episode returns, brilliant in high pace but
purged of the former war of sounds. At the end is the song of the first
tune, with new pranks and sallies.

The beginning of the Finale is all in a musing review of past thoughts.
The shadow of the last tune lingers, in slower pace; the ominous dirge
of first motto sounds below; the soothing melody of the Andante sings a
verse. In solemn fugue the original motto is reared from its timid
phrase to masterful utterance, with splendid stride. Or

[Music: _Modere et solennel_
(Cellos and basses)]

rather the theme is blended of the first two phrases, merging their
opposite characters in the new mood of resolution. The strings prepare
for the sonorous entrance of woodwind and horns. One of the greatest
fugal episodes of symphonies, it is yet