sonata-form restatement of the themes, except that Schubert restates the melodious second theme in the relative key of D major instead of the usual B major (parallel to the tonic B minor). The dramatic closing section, however, does end in B major and leads to a coda in the tonic B minor. This recalls the opening theme for still another, final, dramatic reworking to pave the way for the emphatic concluding chords. II. Andante con moto The second movement, in E major, alternates two contrasting themes in sonatina form (sonata form without development, with a quietly dramatic, elegiac, extended coda that could be characterized as a concluding development section). The lyrical first theme is introduced by the horns, low strings, brass, and high strings playing in counterpoint. The plaintive second theme, in minor, after four simple unharmonized notes in transition spelling out the tonic chord of the relative C minor quietly by the first violins, begins in the solo clarinet in C minor and continues in the solo oboe in C major in an example of the major–minor juxtapositions that are a hallmark of Schubert's harmonic language. A dramatic closing theme in the full orchestra returns to C minor, but ends in D major (the enharmonic equivalent of C major). A short transition back to the tonic E major ushers in the recapitulation—notable for how it restates the second theme in the subdominant A minor (instead of the expected tonic parallel E minor) begun by the oboe and continued by the clarinet (vice versa to their roles in the exposition). The coda starts with a new theme that is simply an extension of the two-bar E major cadential figure that opens the movement. This gives way to the laconic triadic first-violin transition motto, which leads to a restatement of the first theme by the woodwinds in distant A major followed by the motto again leading back to the tonic E major for a final extended transformation of the first theme, leading in turn to a final extended version of the opening cadential figure that reappears to close. Third and fourth movements The fragment of the scherzo intended as the third movement returns to the tonic B minor, with a G major trio. The first 30 measures are preserved in full score, but the entire rest of the scherzo proper (both strains) only in short score. Only the first strain of