is given out andante in 2-4 time and repeated. Eight variations follow:
I. (Poco piu animato, major mode). Throughout the initial variation the concluding notes of the introduction ring like a tolling of bells.
II. (Più vivace, minor mode). The clarinets and bassoons take the lead. The violins supply an arpeggio figure.
III. (Con moto, major mode). The theme in this tranquil section is given first to the oboes and bassoons.
IV. (Andante con moto, minor mode). New melodic material enters. Oboe and horn announce the theme.
V. (Vivace, major mode). Flutes, oboes, and bassoons have the melody.
VI. (Vivace, minor mode). Brilliant like its predecessor, this variation introduces a new figure.
VII. (Grazioso, major mode). In Siciliano rhythm (6-8), the seventh variation is generally regarded as the crowning glory of the set. Against a descending scale for first violins and clarinets, violas and piccolo play the melody. Then the first violins give out a theme whose first four notes provide the movement with its rhythmic basis. There is a wealth of fascinating detail.
VIII. (Presto non troppo, minor mode). In a mysterious whisper of muted strings the last variation leads darkly to the Finale. (Andante, major mode). A ground bass, five measures long and repeated twelve times below a variety of harmonies, occupies much of this summing up. At a signal from the triangle an outburst of vernal life sweeps through the orchestra, ending with the theme in fortissimo proclamation.