parts of the first theme are now blended in mutual discourse.
Amidst trembling strings the oboe d'amore plays the "third theme." "Very tenderly," "quietly," the
second gives soothing answer, and the third sings a full melodious verse.
Here a loud jangling noise tokens important arrivals. Fierce, hearty pulling of the door-bell excites the parents, especially the mother, who is quite in hysterics. The father takes it decidedly more calmly. The visitors presently appear in full view, so to speak; for "the aunts," in the trumpets, exclaim: "Just like Papa," and the uncles, in the trombones, cry: "Just like Mama" (ganz die Mama). There can be no questioning; it is all written in the book.
It is at least not hazardous to guess the three figures in the domestic symphony. Now in jolly Scherzo (munter) begin the tricks and sport of babyhood. There is of course but one theme, with mere comments
of parental phrases in varying accents of affection. Another noisy scene mars all the peace; father and child have a strong disagreement; the latter is "defiant"; the paternal authority is enforced. Bed-time comes with the stroke of seven, a cradle-song (Wiegenlied) (where the child's theme hums faintly below). Then, "slowly and very quietly" sings the "dreamy" phrase of the first theme, where
