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In large part, the [[Musical development|development]], beginning at 145, is a [[Fugue|fugato]] based on the transitional [[Theme (music)|theme]] described above. It [[modulation (music)|modulates]] very little, centering essentially around [[D major]] and [[B minor]], calls for extreme orchestral [[virtuosity]], and features very complex scoring. The climax of the section arrives at rehearsal 149 when the [[Brass instrument|brass]] and [[Percussion instrument|percussion]] play a [[bar (music)|measure]] evoking the main theme and the [[trumpet]] hits a high [[B (musical note)|B]] that rings out over the entire [[orchestra]]. In an interesting bit of trivia, the score calls for a [[B (musical note)|B]] lasting only one [[bar (music)|measure]], but, on one occasion, Ernest Hall, a [[virtuoso]] [[trumpet]]er, held the [[note]] for two full [[bar (music)|measures]]. [[Edward Elgar|Elgar]] was so delighted that it has since become tradition to hold the [[B (musical note)|B]] for the two [[bar (music)|bars]].<ref> Tovey, ''Essays in Musical Analysis'', 281.</ref>
At the end of the [[Musical development|development]], new lyrical melodic [[Theme (music)|material]] leads to a return of the main [[Theme (music)|theme]] and a [[Modulate (music)|modulation]] back to [[E-flat major|Eb major]]. Thus, the [[Recapitulation (music)|recapitulation]] follows in fairly standard fashion at rehearsal 157; it brings back the same [[Theme (music)|themes]] and firmly establishes [[E-flat major|Eb major]].
The [[coda]] at rehearsal 167, marked ''piu tranquillo'', again puts the main theme of the [[Movement (music)|movement]] in the [[cello|celli]] and brings back the “Spirit of Delight” [[Motif (music)|motive]] from the first [[Movement (music)|movement]], now heard in the [[Woodwind instrument|woodwinds]] at a slower [[tempo]] at rehearsal 168.
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