and oboe. The second idea is played by muted trumpets at bar 296, and a triumphant ‘chorale’, also played by trumpets (originally from bar 54). The tone is lightened by trills in the strings, which creates a dominant pedal. In part 3, the key returns to C major (bar 371), and then to D major unusually at 375. The ‘chorale’ theme truly arrives, with a counter theme played by trumpets at bar 392. The theme transforms the crucial work begun in the woodwind into oscillating quavers in the cellos and bass, which then diminishes from bar 396. Underneath these melodies at around bar 378, a military rhythm is characterised by the timpani and lower strings. Part four has frequent modulations, D minor, so the tonic major at bar 428, C major, an unrelated key at 436, Ab major at 438, the tonic pedal, C major at 441, F major at 442, C minor at 447, and C major at 454. This part sees the reintroduction of the bird call idea from the first movement, and also the ‘hell’ idea in the trumpets (4 descending staccato notes). The development seems lighter than the exposition, and in the story of a battle, it appears to be the moment that victory becomes near. Unusual elements in this movement are the amount of modulations and the relation, or lack of relation between the keys in the development. Also the inversion of subjects in the recapitulation, the 2nd subject comes before the 1st subject. This movement is almost like a story of a battle, with plenty of emotion which is created by the complicated and detailed orchestration, and the use of different techniques on instruments. ...
