the cellos, horns, clarinets and first bassoon with trombones playing pianissimo accompaniment, and violas and double basses pizzicato. This gives way to a "bird call" flute melody, reaching the symphony's key of G major. Writing about a performance by the National Symphony Orchestra, Peter Laki notes that the development section "works up quite a storm." In the recapitulation, the second main theme is played by the English horn, two octaves lower than in the exposition. The movement ends with a "short but very energetic coda". Second movement Despite being marked Adagio, the second movement moves along at quite a reasonable speed. It begins with the strings playing the main theme of the movement and ending very softly, following with a similar motion in the oboes and flutes; the clarinets answer, and this conversation continues, including a strong interjection by the strings. The dialogue between the woodwinds dies down and leads into theme being stated by the first flute and oboe, over light clarinets, bassoons, and first horn, descending C major scales in the violins, pizzicato violas and cellos, and gentle quavers in the basses. A similar statement of the theme is echoed by a violin solo, which ends in cheerful and satisfying double stops. The orchestra then plays a variant of the theme boldly. Much of the movement is development of this same theme. Similar to Beethoven's "Pastoral" Symphony, the music is inspired by the tranquil landscapes, depicting a summer's day, interrupted by a thunderstorm. Third movement Most of the third movement is a melancholy waltz in time. Near the end, the meter changes to , and the music ends in a manner not unlike that of the second movement. The first notes of the Trio section (G major) are used in the Coda in . The movement is not the typical minuet or scherzo, but an "intermezzo" akin to the third movements of the First and Second Symphony by Brahms. In contrast to the "sweet and languid waltz" of the first theme, the second, "functioning as a 'trio,' sounds more like a Bohemian folk dance". Fourth movement The finale, formally a "complex theme-and-variations", is the most turbulent movement. It begins with a fanfare of trumpets. Conductor Rafael Kubelik said in a rehearsal: "Gentlemen, in Bohemia the trumpets never call to battle – they always call to the dance!" The music progresses to a beautiful melody which is first played