rings below and woodwind above share the
melody between them, each taking two notes at a time.

The first of the Finale is pure fanfare, as if to let loose the steeds
of war; still it recurs as leading idea. There is a kind of sonorous
terror, increased by the insistent, regular notes of the brass, the
spirited pace of the motive of strings,--the barbaric ring we often hear
in Slav music. At the height

[Music: _Allegro con fuoco_
(Wood doubled above and below)
(Violins)
(_Pizz._ strings)]

the savage yields to a more human vein of joyousness, though at the end
it rushes the more wildly into a

[Music: _Tutti_
(Doubled above and below)]

series of shrieks of trebles with tramping of basses. The real battle
begins almost with a lull, the mere sound of the second tune in the
reeds with light strum of strings and triangle. As the theme is
redoubled (in thirds of the wood), the sweep of strings of the first
motive is added, with chords of horns. A rising figure is now opposed to
the descent of the second melody, with shaking of woodwind that brings
back the old trumpet legend. Here the storm grows apace, with increasing
tumult of entering hostile strains, the main song now ringing in low
brass.

In various versions and changes we seem to see earlier themes briefly
reappearing. Indeed there is a striking kinship of themes throughout,
not so much in outline as in the air and mood of the tunes. This seems
to be proven by actual outer resemblance when the motives are developed.
Here in a quiet spot--though the battle has clearly not ceased--is the
answer of old trumpet motto, that pervaded the first Allegro. There is a
strong feeling of the Scherzo here in the _pizzicato_ answers of
strings. The second theme of the Andante is recalled, too, in the
strokes of the second of the Finale. In the thick of the fray is a
wonderful maze of versions of the theme, diminished and augmented at the
same time with the original pace. Yet it is all a clear flow of melody
and rich harmony. The four beats of quarter notes, in the lengthened
theme, come as high point like the figure of the leader in battle. A
later play of changes is like the sport of the Scherzo. This insensibly
leads to the figure of the fanfare, whence the earlier song returns
with the great joyous march.

The final height of climax is distinguished by a stentorian, fugal blast
of the theme in the bass, the higher breaking in on the lower, while
other voices are rag