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PRIMARY MOTIVE...
SECONDARY MOTIVE...
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The second movement begins with a clarinet using a mirror image of the first four notes of the second motive as a base with which to contruct a melodic line, as pizzicato strings provide a rhythmic foundation for the first twenty-six bars. In the fifth bar, an additional layer of counterpoint is added when a trombone and a trumpet play the first motive in two-part harmony as a triangle joins the mix. In the ninth bar, a bassoon thickens the contrapuntal texture even more by performing the minor variation of the secondary motive as a snare drum enters the mix and enhances the rhythms of the pizzicato strings. In the thirteenth bar, a wooden flute presents yet another contrapuntal line built on a fragment of the first motive. In the seventeenth bar, the four contrapuntal layers presented in the earlier measure cease their repeated patterns and the horns present a variation on the last two lines of the second motive that last for four bars. The horns continue playing for another four bars, as various lines of counterpoint then follow until bar twenty-seven, where a cymbal crash ushers in the second portion of the piece. In this second section, different instruments echo each other over a series of modulations that shifts the tonal center to many new locations, as the strings provide a thick harmonic foundation for this section of the composition.
In this new section, the wooden flute begins in bar twenty-nine by playing the line based on the second motive that was presented in the first four bars of the piece. Two bars later, the clarinet plays this line in a lowered tonal center. Two bars later, in bar thirty-three, the horns play the second motive and are answered by the bassoon (bar 35) and the trumpet (bar36) also playing the variaition of the second motive presented at the beginning of the piece. At bar thirty-seven, the horns play the final bar of the second motive. At bar thirty-eight, the wooden flute begins playing an arpeggiated figure that continues until the end of the piece at bar forty-five, as the brass play light fanfares just before the clarinet and bassoon play variations of the line presented at the beginning of the movement (separately at first and then in two-part harmony) to end the piece.
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