Figure XXXII.
The mood now changes again, and with (i) (Figure XXXII), a charmingly expanded version of motive a, intrusted to the oboe, an allegretto pastorale is ushered in, beginning the fourth section, Country Life. A new theme, of fascinating grace and freshness (j), now enters in the horn, and is presently combined with motive b in what seems on the whole the most delightful moment, musically, of the entire composition (k). A somewhat lengthy working out of these combined motives follows, gradually growing more and more agitated, until, with an adaptation of the protean motive (a) for horns and trumpets, allegro marziale (l) (Figure XXXIII), the fifth section, War, is introduced. Piccolos and drums become prominent, and at page 82 of the score even the love motive (b) takes on a militant character (m, Figure XXXIII). Turmoil now increases steadily until a sort of apotheosis is reached with the reëntrance of the majestic passage (d), in Figure XXX, and the poem comes to an impressive close.
(l)
(m)
Figure XXXIII.