efore
the end, _molto piu vivace_, the answer rings in new joyous rhythm.

Somewhat the reverse of the first movement, in the second the emotional
phase grows slowly from the naive melody of the beginning. Against the
main melody that begins in oboe solo (with _pizzicato_ strings),
_semplice ma grazioso_, plays later a rising

[Music: _Andantino in modo di canzone_
(Clarinet with lower 8ve.)
(Cello)
_Grazioso_
(Bassoons, with _pizz._ basses)]

counter-theme that may recall an older strain. The second melody, in
Greek mode, still does not depart

[Music: (Strings, wood and horns)]

from the naive mood, or lack of mood. A certain modern trait is in this
work, when the feeling vents and wastes itself and yields to an
impassive recoil, more coldly impersonal than the severest classic.

A sigh at the end of the second theme is a first faint reminder of the
original lament. Of it is fashioned the third theme. A succeeding climax
strongly

[Music: _Piu mosso_
(Clarinet doubled below in bassoons)
(Strings)]

brings back the subjective hue of the earlier symphony. A counter-theme,
of the text of the second melody of Allegro,--now one above, now the
other--is a final stroke. Even the shaking of the trumpet figure is
there at the height, in all the brass. Yet as a whole the first melody
prevails, with abundant variation of runs in the wood against the song
of the strings.

The Scherzo seems a masterly bit of humor, impish, if you will, yet on
the verge always of tenderness. The first part is never-failing in the
flash and sparkle of its play, all in _pizzicato_ strings, with a
wonderful daemonic quality of the mere instrumental effect. Somewhat
suddenly the oboe holds a long note and

[Music: _Pizzicato ostinato_
_Scherzo Allegro_
(Strings)
(_Pizzicato sempre_)]

then, with the bassoons, has a tune that is almost sentimental. But
presently the clarinets make mocking

[Music: (Oboes and bassoons)]

retorts. Here, in striking scene, all the brass (but the tuba) very
softly blow the first melody with eccentric halts, in just half the old
pace except when they take us by surprise. The clarinet breaks in with
the sentimental tune in faster time while the brass all the while are
playing as before. There are all kinds of pranks, often at the same
time. The piccolo, in highest treble, inverts the second melody, in
impertinent drollery. The brass has still newer surprises. Perhaps the
best of the fooling is where st