The movement begins with repeated staccato chord-strikes: a hard, regular figure that gives the section its basic ritual mechanism. Brass accents and short fanfare-like intrusions arrive over it, not as a new section yet, but as the first proof that the chord pattern can absorb interruption without losing its grip.

The heavy chording releases into a thinner passage of woodwind motion and lighter string activity. The pulse remains legible, but the form briefly stops insisting on the opening block and lets smaller figures answer it.

The stamping idea comes back with greater force, now carrying sharper horn calls and denser orchestral pressure. By the end of the span, the return has become more than a reprise: it pushes the opening material toward a break rather than a cadence.

After the break, the texture thins again. Short woodwind exchanges and plucked string motion keep time active while withholding the heavy chordal weight. The section’s job is suspension: it keeps the pattern alive in reduced form until the next orchestral entry can land as a rupture.

A forceful orchestral crash restores the heavy frame, and the staccato rhythm resumes with brass and percussion pressing it outward. The music builds through repeated attacks, then turns at 2:00 into a broader, more ceremonial transition rather than simply ending the return.

Low brass, drums, and jagged fanfare material broaden the form, after which the stamping rhythm reasserts itself in successive waves. The last minute does not introduce a new argument; it holds and reloads the same contract, tightening around repeated impact until the final chord cuts the movement off instead of resolving it.