e sing in concert.

There follows a pure interlude, vague in motive, full of dainty touches.
The oboe has a kind of _arioso_ phrase with trilling of flutes and
clarinets, answered in trumpets and harp.

Later the first violins (on the G string) sing the main air with the
saxophone.

A double character has the third movement as the title shows, though in
a broadest sense it could all be taken as a Humoreske.

With a jaunty lilt of skipping strings the lower reeds strike the
capricious tune, where the full chorus soon falls in. The answering
melody, with more of sentiment, though always in graceful swing with
tricksy attendant figures, has a longer song. Not least charm has the
concluding tune that leads back to the whole melodious series.
Throughout are certain chirping notes that form the external connection
with the Humoreske that begins with strident theme (_molto robusto_) of
low strings, the whole chorus, xylophon and all, clattering about, the
high wood echoing like a band of giant crickets,--all in whimsical,
varying pace. The humor grows more graceful when the first melody of the
Intermezzo is lightly touched. The strange figure returns (in roughest
strings and clarinet) somewhat in ancient manner of imitation. Later the
chirruping answer recurs. Diminishing trills are echoed between the
groups.

Slowly the scene grows stranger. Suddenly in eerie harmonies of newest
French or oldest Tartar, here are the tricks and traits where meet the
extremes of latest Romantic and primeval barbarian. In this motley
cloak sounds the typical Yankee tune, first piping in piccolo, then
grunting in tuba. Here is Uncle Sam disporting himself merrily in
foreign garb and scene, quite as if at home. If we wished, we might see
a political satire as well as musical.

After a climax of the clownish mood we return to the Intermezzo
melodies.

The Finale begins in the buoyant spirit of the beginning and seems again
to have a touch of Scotch in the jaunty answer. The whole subject is a
group of phrases rather than a single melody.

Preluding runs lead to the simple descending line of treble with
opposite of basses, answered by the jovial phrase. In the farther course
the first theme prevails, answered with an ascending brief motive of
long notes in irregular ascent. Here follows a freer flow of the jolly
lilting tune, blending with the sterner descending lines.

Balancing this group is an expressive melody of different sentiment.