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and fairly whirls us into the beautiful contemplative theme at measure 81. This theme embodies some entrancing modulations into remote keys, and then, after one of Beethoven's typical passages of hushed pianissimo (beginning in measure 97) we are led through a series of sforzandos, crescendos and titanic ejaculations to the overpowering dissonances in measure 145, which with the tonic chord close the Exposition in the dominant key. The Development (measures 164-396) is extremely long and varied, but a perfect manifestation of spontaneous, organic treatment—each portion growing inevitably from what has preceded and marching irresistibly onward to its objective goal. Every modulatory, rhythmic and polyphonic device is employed to vary and intensify the message; yet, notwithstanding the diversity of the material, we are held spellbound by the directness and coherence of the thought. Such is Beethoven's passionate insistence on the right to speak out just what he felt that in one stupendous passage (measures 246-277) it seems as if the very Heavens were falling about our heads. At measure 282 a theme of ideal repose is interpolated—just the contrast needed after the preceding cataclysm. The Development proper is renewed in measure 298 and after a repetition of the interpolated theme in measures 320-335 the rhythm of the first theme asserts itself in all its majesty, carrying us upward to a veritable table-land of sublimity. From this we are brought down through a series of decrescendo, modulatory chords, like drifting mists, to an almost complete cessation of musical life—nothing but a pianissimo tremolo on the strings. From this hush there floats in upon us the rhythmic motive of the first theme; then, with a ff chord of the dominant, we are suddenly brought back into the sunshine of the main theme, and the Recapitulation has begun. This portion with certain happy changes in modulation—note the beautiful variant on the horn in measures 406-414, e.g.,
—preserves the customary emphasis on the main tonality of E-flat major, ending in measures 549-550 with the same dissonances which closed the Exposition. Then are declaimed by the full orchestra those two dramatic outbursts which usher in the Coda and which may be likened to "Stop! Listen! the best is yet to come." The blunt, intentional disjunction of the harmony adds weight to the assertion, e.g.
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Here we have a convincing illustration of Beethoven's individual conception that the Coda should be a second and final development; special points of interest and treatment being held in store, so that it becomes a truly crowning piece of eloquence. Observe how the reappearance of the interpolated theme balances the Coda with the Development proper and how the various rhythms of the Exposition are concentrated in the last page. Finally a series of bold, vibrato leaps in the first violins—based on the dominant chord—brings this impassioned movement to a close.