The finale is an expansive and flexible thing -- tempo and key develop freely, beginning Lento and B major and finishing in G major with exactly the same tempo as the opening section of the Te Deum. The outline of the solo soprano melody that opens this section is something that, by all rights, should not work, but which, through Dvorák's magical pen, does, and how! At the end of the work, as both key and tempo recall the Te Deum's opening, the jubilant sixteenth note motive from that opening is called out of retirement as well, so that a happy conclusion may be drawn from a cyclical detail.