theme of the preceding Scherzo movement and part of the coda of the opening movement. The melody following the repeated B, is, as Alan Walker notes, "a strict retrogade" of the first movement's main theme. The trio of the movement, which is in the tonic's relative major, consists of a serene nocturne-like melody accompanied by quavers in the left hand. The Marche funèbre alone has remained one of Chopin's most popular compositions and has become an archetypal evocation of death. It has been widely arranged for other instrumentations, most notably for orchestra. The first known orchestral arrangement of the movement was made by Napoléon Henri Reber and was played at the graveside during Chopin's own burial on 30 October 1849 at Père Lachaise Cemetery in Paris. The English conductor Henry Wood made two orchestrations of the Marche funèbre, the first of which was played at The Proms on four occasions between 1895 and 1904. For the First Night of the 1907 Proms on 17 August 1907, Wood conducted a new version he had written on learning of the death two days earlier of the renowned violinist Joseph Joachim. In 1933, Sir Edward Elgar transcribed the Marche funèbre for full orchestra; its first performance was at his own memorial concert the next year. It was also transcribed for large orchestra by the conductor Leopold Stokowski; this version was recorded for the first time by Matthias Bamert. Although the movement was originally published as Marche funèbre, Chopin changed its title to simply Marche in his corrections of the first Paris edition. In addition, whenever Chopin wrote about this movement in his letters, he referred to it as a "march" instead of a "funeral march". Kallberg believes Chopin's removal of the adjective funèbre was possibly motivated by his contempt for descriptive labels of his music. After his London publisher Wessel & Stapleton added unauthorised titles to Chopin's works, including The Infernal Banquet to his first scherzo in B minor (Op. 20), the composer, in a letter to Fontana, wrote: In 1826, a decade before he wrote this movement, Chopin had composed another Marche funèbre in C minor, which was published posthumously as Op. 72 No. 2. IV. Finale: Presto 1–2 minutes The short finale, marked Presto and in time, is a perpetuum mobile in "relatively simple" binary form consisting of parallel octaves played sotto voce e legato (similarly to the Prelude in E