his studies with Taneyev, to whom this symphony is dedicated. At the conclusion of the movement, the Dies Irae is again stated, this time by a brass choir. The momentum dissolves and ends pianississimo (ppp). Third movement This movement is in a broad three-part form, and is often remembered for its opening theme, which is played by the first violins and restated both as a melody and as an accompanying figure later on in the movement. This opening theme, however, is really an introduction to the main melody of the movement, which is presented by a lengthy clarinet solo, and is a typical Rachmaninoff creation, circling around single notes and accompanied by rich harmony. The development is based on the Dies Irae motto theme of the symphony, as if it was continued on from the first movement's introduction. A chromatic buildup leads to an impassioned climax in C major. The intensity subsides, and the central melody of the third movement is restated, this time played by the first violins, while fragments of the opening theme are heard in the accompaniment. The Dies Irae motto is restated again apparently to bring about an ending to complement the first movement introduction, as the third movement concludes in a tranquil fashion dying away slowly in the strings. Fourth movement The final movement is set in sonata form. The lively, fanfare-like first theme, derived from the first "Dies Irae"-like theme of the Scherzo, is played by the entire orchestra, leading into a march-like interlude starting in G# minor played by woodwind. After the return of the first theme, the first subject is concluded, and transitions directly into the second theme which is a massive, broad melody in D major played by strings. After dying down to pianissimo, the opening theme of the third movement, this time in D major, is briefly recalled over string tremolos. After an abrupt interjection of the main themes from the second and first movements, the development section begins, which is in two sections, the first of which introduces new melodic ideas, and the latter of which revolves around a descending scale. The recapitulation initially only presents the first theme, before moving into a dominant pedal, building up to the triumphant restatement of the second theme now in the home key of E major, in which fragments of the first theme, motto theme, and descending scale can be heard in