Sibelius: Symphony No. 5 in Eb Major, Op. 82 - II. Andante mosso, quasi allegretto

sibelius's choice for key of this movement, g major, is an interesting one. so is his form - it's effectively a set of theme and variations, but not discrete and developed in much the same way one would expect of any symphonic movement, emotionally speaking. the central variations have expanse and sometimes fly off the handle a bit into passionate climactic statements; the earlier variations serve as a sort of leadin for this.
having just done a set of variations on a relatively complex theme (the enigma), this seems to have some similarities - the theme just is a little unusual. to begin with, as in the elgar, the theme itself sounds like it could be a variation.
it's stated first by staccato, soft flutes in thirds, with a rhythmic motif of five quarter notes (quarter rest). this is alternated a few times with the strings.

2:15
the first variation. a playful, arco take on the main theme by the violins, circling around and adorning the main notes over sustained chords in the winds. this is a bit of a step up, intensity-wise, from the subdued theme. there is an almost impassioned middle section, and when the violin line comes back, it accelerandos into an almost rushed-sounding outpouring, landing us somewhere in the middle of Eb major by the time we're there. it's in this limbo we start the next "variation" - in fact it's quite difficult to tell where, exactly; it's somewhere around 4:35. now we are in a sort of development; the chords are restless and leading, but the basic contour of the music is the same.

5:25 is the beginning of a new variation, featuring "see-saw" figurations in the strings and staccato winds.

it seems here that each return to the main theme is becoming compressed, as is the rhythm (which becomes faster and faster) and intensity. at around 6:17, though, we hit a stride, as if he has realized what he's doing - and all of a sudden the music becomes subdued. amid grey pizzs which are in the right rhythm but otherwise descend instead of ascending like the theme, there are occasional swells of brassy angst which eventually just go away.

winds come in singing for perhaps the first time in the whole movement; tentatively and darkly, the strings follow them. finally they resolve in g major, but it is somehow sad.
very poignant movement, and sort of difficult to understand.