the Adagio): The second theme is in a slower tempo: Before the third theme appears, the tempo is raised with an accelerando. After this, the scherzo goes through its development and recapitulation, setting the stage for the trio: Jochum on the significance of the staccato arrowhead marking in the Scherzo: "the staccati must be very short, like a tapping. There must be something eerie about the whole. At the second tempo marking ("significantly slower"), a really high-spirited Upper Austrian peasant dance strikes up: here the crotchets marked with an arrow-head should be rather short and playfully marked, each note given a slight accent. In the Trio, too, especially in the piano section, the accents must be brief, light, and effervescent. The arrow-heads indicate actual staccati here: the quavers [eighth notes] on flutes and first violins before Letter A must be very light, dainty, and short. On the other hand, in the cello and double bass descent directly after Letter A, the arrow-heads signify a rounded line, and the notes marked with such must sound with audible vibrato and not be too short." Fourth movement The long Finale opens in the same way as the first movement but veers off soon to gradually introduce new material which becomes the source of the themes of the Allegro moderato, another sonata form which contains in its course fugal and chorale sections of elaborate counterpoint. The hybridization of sonata form and fugal elements is a hallmark of this movement. The first theme group is treated as a fugue exposition with the main theme of the movement as its subject: This is followed by a non-fugal second group based on the second theme of the Scherzo which functions as an episode: The third theme features prominent descending octaves, a gesture seen in the first theme: Closing the exposition is a chorale gesture, which recalls the Dresden Amen: This thematic material is subsequently exploited in the development as the basis for a second fugue subject: By bar 270, both fugal subjects are intoned concurrently. The simultaneous presentation of the fugal subject also occurs at the beginning of the recapitulation (bar 374). When the recapitulation's third group begins, the first theme from the first movement is also presented; the first-movement material closes the symphony, contributing greatly to its cyclic properties. Versions 1876 version This remains unpublished. In 1997 a first attempt at reconstruction – by including in