The shadows
of many figures return. Here is the big descending scale in tragic minor
from the first movement. Large it looms, in bass and treble. Answering
it is a figure of sustained thirds that recalls the former second
(Allegro) melody. And still the trip of dance goes on.
Sharpest and strongest of all these memories is the big sigh of sombre
harmonies from the first Largo prelude, answered by the original legend.
And the dance still goes tripping on and the tones rumble in descent.
The dance has vanished; no sound but the drone of dull, falling tones,
that multiply like the spirits of the sorcerer apprentice, in large form
and small, with the big rumbling in a quick patter as of scurrying mice.
Suddenly a new spirit enters with gathering volume and warmer harmony.
As out of a dream we gradually emerge, at the end with a shock of
welcome to light and day, as we awake to the returning glad dance. And
here is a new entrancing counter-tune above that crowns the joy.
Once again the skip falls into the ominous descent with the phantom of
Scherzo dance in basses. Now returns the strange hymnal line of march
and the other anxious hue.
But quickly they are transformed into the tempest of gaiety in full
parade. When a new burst is preparing, we see the sighing figure all
changed to opposite mood. The grim tune of Scherzo dance enters
mysteriously in big and little and slowly takes on a softened hue,
losing the savage tinge.
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