The first movement proper, Allegro, in complete sonata-form, begins with a ff announcement of the impassioned, chromatic motto, e.g.
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Note the cutting effect of the dissonant tones F-sharp and A-flat! From this motto grows the melodic part of the first theme in two balancing phrases, e.g.
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Then follow some stormy measures of dissonant chords and warring rhythms until the theme rages itself out, in measure 52. The transition begins with some sharp staccato chords, as if summoning to further attention. It gradually cools down through a series of beautiful modulations and, in measure 84, the second theme—introduced by calls on the horn and sung by the oboe—enters in the relative major key of E-flat. This also is based on the ascending, chromatic line of the motto; still further organic unity being gained by the bass, which has the same melodic figure as the second phrase of the first theme, e.g.
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Much of the previous fierceness, however, has abated and the remainder of the second theme is of a rare loveliness, with mysterious answering calls between oboes, clarinets and horns. The pp dominant ninth chords at the beginning of the closing portion (measures 120-122) give a positively shuddering effect and then the combat of clashing rhythms is renewed. The development begins with a series of shifting harmonies, at first ff and then pp—a lull before the storm—as if preparing the way for a still more terrific assault upon our emotions. It is tempestuous throughout; based at first on material taken from the preceding codetta and ending with an extended presentation of the motto over an iterated pedal note on the dominant, e.g.