rnful song of the
principal melody appears presently in the strings, then returns to the
funeral trip and to the strident chords. The first trumpet motive now
sounds with this clanging phrase and soon the original call abounds in
other brass. The deep descending notes of the horns recur and the full
song of the funeral melody much extended, growing into a duet of cellos
and high woodwind,

[Music: (Strings, bassoons and clarinets)]

and further into hymnal song on a new motive.

[Music: (Wood, horns and strings)
(Bass notes in lowest wood and strings)]

So the various melodies recur with new mood and manner. Suddenly, in
fierce abandon, a martial tramp of the full band resounds, in gloomy
minor,

[Music: _Suddenly faster. Impassioned_
(Rapid descending figure in violins)
(Trumpet)
(Trombones)
(Tuba and strings)]

the violins in rapid rage of wailing figure: the trumpet strikes the
firm note of heroic plaint.

Wild grief breaks out on all sides, the strings singing in passionate
answer to the trumpet, the high wood carrying on the rapid motion. At
the height of the storm the woodwind gain control with measured rhythm
of choral melody. Or perhaps the real height is the expressive double
strain, in gentle pace, of the strings, and the wood descending from on
high.

[Music: (Woodwind doubled below)
(Strings doubled above)
_espressivo_
(Brass and strings)]

The duet is carried on in wilder mood by most of the voices.

A return to the solemn pace comes by imperceptible change, the softer
hues of grief merging with the fiercer cries. Now various strains sound
together,--the main funeral melody in the woodwind.

In the close recurs the full flow of funeral song, with the hymnal
harmonies. In the refrain of the stormy duet the sting of passion is
gone; the whole plaint dies away amid the fading echoes of the trumpet
call.

_I.--2._ The second movement, the real first Allegro, is again clearly
in two parts. Only, the relative paces are exactly reversed from the
first movement. In tempestuous motion, with greatest vehemence, a
rushing motive of the basses is stopped by a chord of brass and
strings,--the chord itself reverberating to the lower rhythm.

[Music: _In stirring motion. With greatest vehemence_
(Brass and strings)
(Bass of wood and string)
(Trumpets)]

Throughout the whole symphony is the dual theme, each part spurring the
other. Here presently are phrases in conflicting motion, countermarching