The humor grows more graceful when the first melody of the
Intermezzo is lightly touched. The strange figure returns (in roughest
strings and clarinet) somewhat in ancient manner of imitation. Later the
chirruping answer recurs. Diminishing trills are echoed between the
groups.
Slowly the scene grows stranger. Suddenly in eerie harmonies of newest
French or oldest Tartar, here are the tricks and traits where meet the
extremes of latest Romantic and primeval barbarian. In this motley
cloak sounds the typical Yankee tune, first piping in piccolo, then
grunting in tuba. Here is Uncle Sam disporting himself merrily in
foreign garb and scene, quite as if at home. If we wished, we might see
a political satire as well as musical.
After a climax of the clownish mood we return to the Intermezzo
melodies.
The Finale begins in the buoyant spirit of the beginning and seems again
to have a touch of Scotch in the jaunty answer. The whole subject is a
group of phrases rather than a single melody.
Preluding runs lead to the simple descending line of treble with
opposite of basses, answered by the jovial phrase. In the farther course
the first theme prevails, answered with an ascending brief motive of
long notes in irregular ascent. Here follows a freer flow of the jolly
lilting tune, blending with the sterner descending lines.
Balancing this group is an expressive melody of different sentiment. In
its answer we have again the weird touch of neo-barbarism in a strain of
the reed, with dancing overtones of violins and harp, and strumming
chords on lower strings.
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