After a varied repetition of the first motive of the theme, there occurs a passage (measures 23-33)[142] which illustrates one of the most characteristic features in all Beethoven's work, _i.e._, those sharp dislocations of the rhythm, indicated by the sforzando accents (_sf_) on beats usually _unaccented_ and often coupled with strong dissonances. Although the basic rhythm is triple, the beats for several measures are in groups of two quarter notes or their equivalent, one half note, _e.g._
[Footnote 142: It is an excellent practise to number the measures of a score in groups of _10_.]
No longer can we drift along in dreamy apathy; our vitality is quickened as by the gusts of a tornado. There have been those who for the first time in their lives were jarred from the even tenor of their way by these impassioned onslaughts. When Beethoven's Symphonies were first played in Paris, it is reported that the operatic composer Boieldieu was much disconcerted, because, as he said, he liked "musique qui me berce." The transition (measures 43-81) is a remarkable example of Beethoven's power of creating ever more and more excitement and expectancy. It contains _three_ subsidiary melodic phrases, each of increasing rhythmic animation, _e.g._,
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._,