This is particularly noticeable in his treatment of the second theme in the first and last movements, in the use of two trios in the Scherzo, and in the melodious Larghetto, which greatly resembles his Phantasiestücke for piano. Throughout, this music is extremely inspiriting; in spite of an occasional lack of clearness in the instrumentation it is powerful and brilliant or of exquisite delicacy, and its spirit full of love, happiness and spring. The second symphony in D minor, later revised and published as No. 4, is decidedly more passionate and concentrated, some of the four movements being closely connected, besides having partly a common thematic material. New also is the slow impressive introduction of the finale and the free, fantasia-like treatment of the second part of the opening movement. In the place of a broad adagio a lovely romance precedes the Scherzo, which retains its usual shape, and in all four movements the principal key of D is dominant. Schumann's relationship to Beethoven seems however nowhere more conspicuous than in the great symphony in C. It has an eminently virile, strong and dithyrambic character. The solemn introduction of the first movement, the conciseness of its first part, the wide scope of the working-out portion, even the character of the themes, remind us at once of Beethoven's spirit. An extensive, fanciful scherzo with two different trios in two-four time precedes the beautiful Adagio, which, with its intense feeling, sweet sadness and almost transcendental loftiness, comes perhaps nearer to Beethoven than anything else in modern symphonic literature. An exultant finale crowns this truly monumental work. And let us not forget that it was written in a gloomy period of mental and physical distress. The deep study of Bach at that time left many traces in the masterly contrapuntal work.