- The last of its three sections begins with a reprise of the first but quickly veers off in a new direction.
- The chorus of the piece - a reprise of Allien's introduction replete with the now introduced elements is a exultant mélange of avant-pop songwriting.
- The tone becomes increasingly strident until a reprise of the opening is followed by a moment of calm that precedes a violent and sarcastic conclusion.
- The track ends with a reprise of Arwen's choral theme, echoing her pleads to the Valar to save his life.
- After a reprise of the music for horns and piano for another short male solo, the Coda begins in vigorous style.
- Moving out of the central, more restrained and mournful section into the reprise could perhaps need a little more direction, but the overall work is coherent, engaging and pays the listener well.
- A mournful adagio is sandwiched between the scherzo's reprise, deftly establishing contrast.
- The martial rhythmic section, pointed up by timpani, was particularly engaging and overall there was an operatic tone to this movement leading to a big climax before the decorated reprise of the first theme.
- The short ‘coda’ completes the symmetry of the piece by reprising both the texture and added dominant seventh chord of the introduction.
- Further evidence for this comes from the musical rendering of the first line of the reprise, ‘These things seem more wondrous, yet more wondrous I’.
- The passage in question covers the return of B, C and D themes, and the retransition to the final reprise of A.
- A series of diverse episodes are framed by a recurring walking-rhythm motif, and Reicha manages to vary the order and inflection of his reprises in such a way that we hear each theme in close juxtaposition with every other.
- The final variations, with their reprises of themes from the other movements, brought the performance to a rich and satisfying close.
- To dispel any confusion, the track segues into a reprise of On Play Patterns' second half, ‘Ten Thousand Animal Calls.’
- Some later examples introduced more complex techniques, such as canon (Mozart's Symphony no. 40, in G minor), and some treat the reprise of the minuet after the trio with elaborate embellishments.
- Also enthralling was the remarkable Italian cantata from 1708, Tra le fiamme, in which three arias interspersed by recitatives lead to a final reprise of the first, resulting in a rather progressive cyclic structure.
- The second movement is like the surreal reprise of the first that it is supposed to be.
- However, the Jay recording also includes just about everything, including instrumental reprises, instrumental covers of scene changes, the curtain-call music, and the exit music that played while the audience left the theater.
- Ballou even squeezes in a reprise of his opening cadenza before the super-colossal breakdown, which somehow manages to reign in the song's momentum without sacrificing velocity.
- After 15 seconds or so of cheers the band kicks in with a reprise of the theme, the crowd explodes, and then, for three more minutes, the variations continue.