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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.
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.
As a pretty counter-tune grows above, the melody sings below, with a blending of lyric feeling and the charm of dance. At a climactic height the horns, with clumsy grace, blare forth the main lilting phrase. The song now wings along with quicker tripping counter-tunes that slowly lure the first skipping tune back into the play after a prelude of high festivity.
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