The tune of the valse, Allegro moderato, is first played by the violins, dolce con grazia, with accompanying strings, horns and bassoon. In the second part, with some loss of the lilt of dance, is a subtle design—with a running phrase in spiccato strings against a slower upward glide of bassoons. The duet winds on a kind of crescendo of modulations. Later
the themes are inverted, and the second is redoubled in speed. The whole merges naturally into the first waltz, with a richer suite of adorning figures. The dance does not end without a soft reminder (in low woodwind) of the original sombre phrase.
Almost for the first time a waltz has entered the shrine of the symphony. And yet perhaps this dance has all the more a place there. It came on impulse (the way to visit a sanctuary), not by ancient custom. But with all its fine variety, it is a simple waltz with all the careless grace,—nothing more, with no hidden or graphic meaning (as in Berlioz's Fantastic Symphony).
The middle episode, though it lacks the dancing trip, is in the one continuing mood,—like a dream of youthful joys with just a dimming hint of grim reality in the returning motto.
In the Finale the main legend of the symphony is transformed and transfigured in a new, serener mood, and is brought to a full melodic bloom. Indeed, here is the idealization of the original motto. Andante maestoso it begins in the tonic major. When the theme ceases, the brass blow the rhythm on a monotone, midst an ascending obligato of strings.
In answer comes a new phrase of chorale. Later the chorale is sounded by the full band, with intermediate beats of rhythmic march.
Once more there is a well-marked episode, with a full share of melodic discussion, of clashing themes, of dramatic struggle. First in the tonic minor a theme rises from the last casual cadence in resonant march, Allegro vivace. Then follows a duet, almost
