Plus animé, in subtle change of pace (from 6/4 to 3/2), the episode begins with eccentric stride of harps (and added woodwind), that serves as a kind of
accompanying figure and foil for the sweeping song of the real second melody (in oboe solo, succeeded by the clarinet).
In the clash of themes and harmonies of the climax, the very limits of modern license seem to be invoked. Later the three themes are entwined in a passage of masterly counterpoint.
There is a touch of ancient harmony in the delicate tune of third movement, which has the virtue of endless weaving. It is sung by solo violin, mainly supported by a choir of lower strings.
A final conclusive line is given by the solo flute. Besides the constant course of varying tune, there is a power of ever changing harmony that seems to lie in some themes.
One can hardly call it all a Scherzo. It is rather an idyll after the pathos of the Andante. Or, from another view, reversing the usual order, we may find the quality of traditional Trio in the first melody and a bacchanale of wild humor in the middle. For, out
