So the jolly dance and the quaint fugue alternate; a recurring phrase is carried to a kind of dispute, with opposite directions above and below and much augmented motion in the strings.
In the dance so far, in "three time," is ever the vigorous stamp on the third beat, typical of the German peasant "Ländler." Here of a sudden is a change as great as possible within the continuing dance of three steps. "More tranquil" in pace, in soft strings, without a trace of the Ländler stamp, is a pure waltz in pretty imitation of tuneful theme.
And so the return to the vigorous rough dance is the more refreshing. The merry mood yields to a darker temper. "Wild" the strings rush in angry fugue on their rapid phrase; the quaint theme is torn to shreds, recalling the fierce tempest of earlier symphony.
But the first sad note of the Scherzo is in the recitative of horn, after the lull. A phrase of quiet reflection, with which the horn concludes the episode as with an "envoi," is now constantly rung; it is wrought from the eerie tempest; like refined metal the melody is finally poured; out of its guise is the theme now of mournful dance.
"Shyly" the tune of the waltz answers in softest oboe. In all kinds of verses it is sung, in expressive duet of lower wood, of the brass, then of high reeds; in solo trumpet with counter-tune of oboe, finally in high flutes. Here we see curiously, as the first themes reappear, a likeness with the original trumpet-call of the symphony. In this guise of the first dance-theme the movements are bound together. The envoi phrase is here evident throughout.
At this mystic stage, to pure dance trip of low strings the waltz reënters very softly in constant growing motion, soon attaining the old pace and a new fulness of sound. A fresh spur is given by a wild motion of strings, as in the fugal episode; a new height of tempest is reached where again the distorted shreds of first dance appear, with phrases of the second. From it like sunshine from the clouds breaks quickly the original merry trip of dance.
The full cycle of main Scherzo returns with all stress of storm and tragedy. But so fierce is the tempest that we wonder how the glad mood can prevail. And the sad envoi returns and will not be shaken off. The sharp clash of fugue is rung again and again, as if the cup must be drained to the drop. Indeed, the serious later strain does prevail, all but the final blare of the saucy call of brass.[64]
III.—4. Adagietto.[65] "Very slowly" first violins carry the expressive song that is repeated by the violas.
