ly divided.]

[Music: _Adagietto_
(Strings and harp)]

A climax is reached by all the violins in unison. A new glow, with
quicker motion, is in the episode, where the violins are sharply
answered by the violas, rising to a dramatic height and dying away in a
vein of rare lyric utterance.

It is all indeed a pure lyric in tones.

_III.--5. Rondo-Finale._ The whole has the dainty, light-treading humor
that does not die of its own vehemence. Somewhat as in the Ninth
Symphony of Beethoven,--tyrant of classical traditions, the themes
appear right in the beginning as if on muster-roll, each in separate,
unattended song. A last chance cadence passes down the line of voices
and settles into a comfortable rhythm as prevailing theme, running in
melodious extension, and merging after a

[Music: (Clarinets, horns and bassoons) (Flutes and oboes)
_Allegro commodo_]

hearty conclusion in the jovially garrulous fugue.

Here the counter-theme proves to be one of the initial tunes and takes a
leading role until another charming strain appears on high,--a pure
nursery rhyme crowning the learned fugue. Even this is a guise of one
of the original motives in the mazing medley, where it seems we could
trace the ancestry of each if we could linger and if it really mattered.
And yet there is a rare charm in these subtle turns; it is the secret
relevance that counts the most.

The fugue reaches a sturdy height with one of the first themes in lusty
horns, and suddenly falls into a pleasant jingle, prattling away in the
train of important figures, the kind that is pertinent with no outer
likeness.

[Music: _Grazioso_
(Strings, bassoons and horns)]

Everywhere, to be sure, the little rhythmic cadence appears; the whole
sounds almost like the old children's canon on "Three Blind Mice";
indeed the themal inversion is here the main tune. Then in the bass the
phrase sounds twice as slow as in the horns. There are capers and
horseplay; a sudden shift of tone; a false alarm of fugue; suddenly we
are back in the first placid verse of the rhythmic motive.

Here is a new augmentation in resonant horns and middle strings, and the
melodious extension. A former motive that rings out in high reed, seems
to have the function of concluding each episode.

A new stretch of fugue appears with new counter-theme, that begins in
long-blown notes of horns. It really is no longer a fugue; it has lapsed
into mere smooth-rolling motion underneath a verse