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	The following E pedal point maintains a powerful dominant
function (bars 63-70).  The harmonies which support the ascending
scale of high points in the main line will appear in parentheses
in the final analysis.  Note in the orchestration that the oboes
and English horn are reserved a few bars for the first reappearance
of the "desire" motive (at 66-67) since the opening of the work.
The large sense of the progression in the bars of 63-74 is
the same as at the beginning:
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%6⊂⊗⊃L[α%0.00,α%-0.60]:106B.PLT[c10,LCS]⊂⊗⊃%1
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	This passage can be considered as a kind of premature 
recapitulation; premature, because even though the opening motive and 
progression are present, the extreme turbulence of the string parts
creates a texture far different from that found in the opening and
again at bar 84.

	Though the C in bar 70, just before the double bar, might be
considered a chromatic passing tone, it is, by analogy with the
opening of the piece, an integral part of an F6  (French sixth) 
function in ↓_C_↓.  Thus the preceding B may be considered either a part
of a Vs of ↓_A_↓ or an appoggiatura to the note C.  Notice in the
following analysis of bars 70-74 how this ambiguity is indicated.
(See also Figures 99 and 100.)
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Figure 107
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	Beginning in bar 74 we have again another variant of the
material of 17-25.  ↓_C_↓ is the most important tonic until the middle
of bar 76.  The music in bars 76-84 goes out on a harmonic "limb"
from which it escapes in a most remarkable manner.  The C roll in
the timpani at 76 perhaps weakens the functional possibilities of
the woodwind's C%4S%1.  However, ↓_d_↓ will be listed as tonic at that
point, since most of the other parts are also pulling away from the
↓_C_↓ tonic.  The chord of the first half of bar 77 is assumed to be
C-E%4F%1-G-B%4F%1, the A of the main line being a lower neighbor note.
The same point of view gives us C-E%4F%1-G%4F%1-B%4F%1 on the first
quarter-note of bar 79.  However, at 80 the E%4F%1 moves to a held D
in the horn part, so at this point the E%4F%1 is best considered an
appoggiatura.  The orchestration should always be checked for such
details.  The following example gives the bass and chord outline
of bars 76-84.