The choral lines were dominated its ability to capture and project the emotional uncertainty in the repeatedly sighing motif. This vagueness was central to every coral line that was conducted. In a more embellished form the performers began a recitatif which was awesomely integrated a single solo oboe line (Fedeles, 2010, pg 1).
Emily Dickinson works on the spring was captured well in more like scherzo moves that set in suddenly (Finson, pg. 67). It is after this that the song goes to a move that barely meets the expectations of the crowd as the development of romantic song that encapsulates the men chorus. The music finally, sets in a way in which the eras of history to capture the “Wiccan spirituality” belief of Ostara- the goddess of spring.