A major new section, beginning in B-flat, begins around rehearsal 7, though it is as highly modulatory as the first section. Before long, the e minor portion of the first main theme has returned, in a version for a fuller orchestra. This leads through a doppio piu lento to a larghetto for at first clarinet duet, then enter flute, then English horn, then oboe, then strings, beginning in and returning to E-flat. A doppio movimento returns us to a section like the c# appearance (clarinet) of the opening theme. This is perhaps the beginning of the recapitulation, and indeed eventually some material from the original second group is heard. The opening of the coda, in which bassoons, horns, trumpets, third trombone, tuba, violas, celli, bass clarinets, and basses all play important roles, is imposing. The movement ends with another larghetto, dour in tone at first, then lighter, containing a sort of second recapitulation for the main theme of the movement (with a reappearance of the original texture, which has not been heard since the development), and a morendo ending of plucked g minor strings and a D-A open fifth in clarinets.
The following D major lento opens with pizzicato low strings over which first violins sing senza sord., second violins joining the pizzicato strings soon after. 19 bars into the movement, a clarinet enters, and the texture changes to flute melody above chords in two clarinets and running quavers in the third. 8 bars later, strings, horn, harp and bassoon join in, the first violins taking the lead again, now in counterpoint with 2 unison flutes. The music enters A-flat major from A, and three trumpets play accompaniment in quavers. Their role is soon taken over by clarinets and bass clarinet as the music reenters the A/f# axis.
There follows a central section in (perhaps) e-flat Phrygian, sung by English horn over strings (later in unison with flute, then flute and oboe). The first violins take the melody, and the full orchestra is heard for almost the only time in the movement. The opening material returns, and there is a long, mostly non-strings coda ending on D major with an added bass-clarinet E.
The B-flat major scherzo, a complete description of which would be rather lengthy, is a somewhat standard scherzo in form. The opening tempo is dotted quarter=112, vivace 3/8. B-flats on timpani lead to the main theme in clarinet with pizzicato celli & bass accompaniment (with timpani). Later a second theme, in B-flat again (though the key has shifted much before) is heard unisono in English horn, clarinets, bass clarinet, bassoons violas and violoncelli. A third theme in b-flat minor is heard in high bassoon and pizzicati basses. Yet a fourth theme is introduced by clarinets and flutes over low strings pizz.
(All this in the first 7 pages of a 56-page movement.)
A few bars of rhythmic (2-16ths-1-8th) chugging for trumpets over (at first) a low B-natural for 3rd trombone and trumpet are followed by a full-orchestra return on the main theme in a guise for full orchestra, and a woodwind/plucked strings/horn return of the 2nd theme first in B-flat then in E. Another new theme, in C, follows and then the 2nd theme in B-natural. A new section in a fairly clear G major over a regular ostinato in celli & basses follows and switches to E major and then to E-flat.
There is a section for strings alone, then another section for winds and tambourine (the strings-alone section rather longer), then the ostinato again in G E and E-flat.
Next, 4 Ds on the timpani and, unisono, the main theme appears in fragments, interrupted by drum. A 1/4 note-1/8 note fragment based on an elements of the main theme is repeated and then varied all over the map for some 10 bars while an interruption occurs on horns and bassoons. Soon the key changes to G with a transition for harp and clarinet and theme in flute (allegretto grazioso, quarter=112). Basson and flute trade the new theme over regular writing in strings.
Pure wind trio follows, then pure strings. Other winds enter, and an accelerando forces a key-signature change back to B-flat, though that key is not actually reached as yet (too chromatic). There follows 14 bars for strings only based on the 2nd half of the 2nd theme, then the opening of the 2nd theme is heard for clarinets, bassoons, horns trombones and strings. The key switches to E and most of the orchestra sounds. The remainder before the coda is more or less like the end of the main part of the scherzo; the ending in B-flat is punctuated by timpani.
More on the g minor finale later.
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