In the Second Movement (Quasi Adagio), Liszt introduces a new theme. The cellos and basses lead and suggest the following beautiful melody:
Measures 1 - 4 Cellos and Basses begin a beautiful melody. Play.


Next, Liszt takes this melody and lets the piano sing fully; this piano part is one of Liszt's most expressive melody.
The next transformation takes place in the beginning of the Fourth Movement. This time it has been transformed into a march.
Measures 1 - 3 Fourth Movement melodic theme in original key of E-flat with march-like character. Play audio clip.


There is another fascinating transformation which occurs: Liszt takes the descending part of the melodic theme and uses it to create a passionate recitative by a solo cello.
Liszt then takes this theme and uses it in the Fourth Movement with Bassoons, Trombones, Cellos, and Basses.
Measures 35 - 36 Play cello solo with the descending part of the melodic theme.
Measures 17 - 19 Play (Bassoons, Trombones,) Cellos, and Basses in Fourth Movement.


A third theme in the Second Movement emerges at the end of the movement: while the piano is trilling away, the woodwinds (Flute, Clarinet, and Oboe) and Cello have the new theme as solo lines. It is a dolce espressivo melody. This third theme appears in the Fourth Movement as triplets played staccato and lightly.
Measures 55 - 63 (shown) Play new theme with solos.
Play measures 30 - 32 in Fourth Movement of trilling theme from Second Movement.

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