The first violin theme, which was represented by the inside of St. Florian's church as an inner or overlaid image in the last painting, now becomes the outer, background image, but continues with its St. Florian motive. This depiction of St. Florian being thrown off the bridge slowly increases its scale as the dynamic level progresses from pianissimo to fortissimo. In the 5th measure (No. 43) this painting of a painting fractures to the harp scales which move by fifths around the color-harmony wheel, slowly decreasing in size until once again reaching a pianissimo level.

The cellos and double-basses are represented by the now inner Alpine image and the changing values of the glazes. In order to make the increasing and decreasing dynamic levels very clear visually I painted the same peak at each different scale, as in the last Scherzo painting. All strips from the same dynamic level were painted together; when they are arranged into their original order the viewer's eye moves back and forth across the painting. The last measure is solely landscape fracturing to the little melodic bridge in the second horns connecting the first theme to the second theme.

The red line beginning in the 3rd measure (No. 42) of the painting starts in the trombone line and continues with the bassoons. It appears in the painting as an ornament floating in front of St. Florian's and the Alps.

The green-yellow glaze of Ab major continues from the last painting until the 2nd measure (No. 40), where this color is mixed with yellow because the Ab major is now a greyed-orange hue, representing a diminished-7th chord of Gb major. A much purer circle of fifths and the color wheel by fifth intervals. That means that the color change in a very smooth, orderly way, except for the C chord, which is C minor yellow instead of C-major blue. The painting ends on a G-major purple.