In all kinds of
verses it is sung, in expressive duet of lower wood, of the brass, then
of high reeds; in solo trumpet with counter-tune of oboe, finally in
high flutes. Here we see curiously, as the first themes reappear, a
likeness with the original trumpet-call of the symphony. In this guise
of the first dance-theme the movements are bound together. The _envoi_
phrase is here evident throughout.
At this mystic stage, to pure dance trip of low strings the waltz
reenters very softly in constant growing motion, soon attaining the old
pace and a new fulness of sound. A fresh spur is given by a wild motion
of strings, as in the fugal episode; a new height of tempest is reached
where again the distorted shreds of first dance appear, with phrases of
the second. From it like sunshine from the clouds breaks quickly the
original merry trip of dance.
The full cycle of main Scherzo returns with all stress of storm and
tragedy. But so fierce is the tempest that we wonder how the glad mood
can prevail. And the sad _envoi_ returns and will not be shaken off.
The sharp clash of fugue is rung again and again, as if the cup must be
drained to the drop. Indeed, the serious later strain does prevail, all
but the final blare of the saucy call of brass.[A]
[Footnote A: In the Scherzo are chimes, accenting the tune of the dance,
and even castanets, besides triangle and other percussion. The second
movement employs the harp and triangle.
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