CODA

Bars 367 - end (Coda) --Over tremolo violas, the horns, then violins, and finally clarinets, play the gentle and quiet ascending figures that had led into the restatement of Theme 1 before.  Violins then join in the tremolo, trombones make a subdued entrance, and the winds play ominous descending lines, all at a hushed level.
[bb. 375]--Trombone, contrabassoon, and low strings play the opening of the main theme in a similar manner to the darker version heard in the introduction.  There begins a long timpani roll.  The winds play soft echoes, and the violins play ascending arpeggios in tremolo that are reminiscent of the “closing” material.  After two statements of this material, it is wrenched upward a half-step for a third statement.  Then everything is abbreviated, the arpeggios, the Theme 1 fragments, and the wind responses.  There is a huge buildup in volume as well as speed (marked “stringendo“).  The figures become faster, shorter, and syncopated, finally culminating in seven rapidly hammered chords, the timpani breaking the roll to join.

[bb. 391]--The tempo changes to “Più Allegro” and the meter is changed to cut time [2/2] to reflect this acceleration.  The music turns strongly back to the major key.  There, the strings, supported by timpani, begin churning on three notes derived from the main theme’s “turning” figure.  Against this, the winds and brass play two powerful and jarring “diminished seventh” chords that resolve to more pleasing harmonies.  The “churning” music gives rise to more melodic…