Though the whole movement is evenly balanced between Allegro and
Penseroso (so far as pace is concerned), the mood of reflection really
finds full vent; it has no reason for a further special expression.

Simple as the Allegretto appears in its suggestion of halting dance, the
intent in the episodes is of the subtlest. The slow trip of strings and
harp is soon given a new meaning with the melody of English horn.
Throughout we are somehow divided between pure dance and a more
thoughtful muse. In the first departure to an episode in major, seems to
sing the essence of the former melody in gently murmuring strings, where
later the whole chorus are drawn in. The song moves on clear thread and
wing right out of the mood of the dance-tune; but the very charm lies in
the mere outer change of guise. And so the second episode is still far
from all likeness with the first dance beyond a least sense of the old
trip that does appear here and there. It is all clearly a true scheme of
variations, the main theme disguised beyond outer semblance, yet
faithfully present throughout in the essential rhythm and harmony.

In the Finale, _Allegro non troppo_, we are really clear, at the outset,
of the toils of musing melancholy.

[Music: _Allegro non troppo_
_Dolce cantabile_]

After big bursts of chords, a tune rolls pleasantly along, _dolce
cantabile_, in basses of wood and strings. Expressive after-phrases
abound, all in the same jolly mood, until the whole band break
boisterously on the simple song, with a new sonorous phrase of basses.
Then, in sudden remove, sounds the purest bit of melody of all the
symphony, in gentlest tones