song of trumpets (with horns, bassoons and cellos) to quick
palpitating violins that in its higher flight is given over to upper
reeds and violas. It is answered by gracefully drooping melody of
strings and harps topped by the oboes, that lightly descends from the
heights with a cadence long delayed, like the circling flight of a great
bird before he alights. Straightway begins a more pensive turn of phrase
(of clarinet and lower strings) in distant tonal scene where now the
former (descending) answer sings timidly in alternating groups. The
pensive melody returns for a greater reach, blending with the original
theme (in all the basses) in a glowing duet of two moods as well as
melodies, rising to sudden brilliant height, pressing on to a full
return of the first exultant melody with long, lingering, circling
descent.

The listener on first hearing may be warned to have a sharp ear for all
kinds of disguises of the stirring theme and in a less degree, of the
second subject. What seems a new air in a tranquil spot, with strum of
harp,--and new it is as expression,--is our main melody in a kind of
inversion. And so a new tissue of song continues, all of the original
fibre, calming more and more from the first fierce glow. A tuneful
march-like strain now plays gently in the horns while the (inverted)
expressive air still sounds above.

[Music: (Oboe with 8ve. flute) (Oboe)
(Horns) _Calmato ed espressivo assai_]

When all has quieted to dim echoing answers between horn and reed, a
final strain bursts forth (like the nightingale's voice in the
surrounding stillness) in full stress of its plaint. And so, in most
natural course, grows and flows the main balancing melody that now
pours out its burden in slower, broader pace, in joint choirs of wood
and strings.

[Music: _Meno mosso e largamente_
(Woodwind above, strings below)
(_pizz._ basses)]

It is the kind of lyric spot where the full stream of warm feeling seems
set free after the storm of the first onset. In answer is a timid,
almost halting strain in four parts of the wood, echoed in strings. A
new agitation now stirs the joint choirs (with touches of brass), and
anon comes a poignant line of the inverted (main) theme. It drives in
rising stress under the spurring summons of trumpets and horns to a
celebration of the transfigured second melody, with triumphant cadence.
Nor does the big impulse halt here. The trumpets sound on midst a
spirited duet of inverted and