tonic chord; instead, it acts as the bottom of a first inversion chord of F major (bar 21). In the development, one sees the addition of a new motif and harmonically, the section centers around D major, G major, and B minor, all closely related keys but ones that are isolated from the tonic (A minor). The dominant of A minor is reached (bar 75) and here, the recapitulation begins, once again over a dominant pedal. It is important to note that there has still not been a root chord of A minor. This elusive A minor root chord finally appears at the end of the recapitulation leading into the C major Trio section. The slow trio is in the style of a Ländler, an Austrian folk dance and, according to Williamson, confirms that in Bruckner's works, it [the trio] is a place for construction in tone color as in the moment when horn and pizzicato strings compete on the same rhythmic figure: In fact, this dialogue between pizzicato strings, horn and woodwinds is central to the texture of the whole Trio section. Although the key is C major, there are moments of harmonic ambiguity, as in the preceding movements. At one point (bar 5), the strings point towards D major while the woodwinds attempt to assert A major by quoting the inversion of the main theme of Symphony No. 5 that is in A major. The scherzo returns in its entirety at the end of the trio, adhering to a typical large-scale ternary structure. IV. Finale: Bewegt, doch nicht zu schnell (With motion, but not too fast) Watson characterized the Finale as a steady, organic assertion of A major against its Neapolitan relatives. However, this sonata form movement begins with a theme in Phrygian A minor that once again stresses Neapolitan relationships with the obvious presence of the flat sixth (the pitch being F): The horns and trumpets interrupt with statements in A major (bar 22) but the theme is undeterred; four bars later they once again interrupt the theme and this time succeed in establishing A major (bar 29). A second theme in C major eventually appears: This is followed by a third theme (bar 125) that is derived from the oboe lament of the second movement: During the development section the music continues to modulate through a variety of major keys, including F major, E major and