begins with an anacrusis (as indeed do all the symphony's themes), and is built up of regular 2-bar phrases which are preceded by a single introductory measure containing the anacrusis (in the pattern 1+2+2+2+2). The winds enter at ms. 14 in three-octave spacing, affecting a 2-bar transition to a tutti reinforcement of the dominant (D). An interesting cross-relation is heard in ms. 15 where c-neutral in the winds sounds against the c-sharp from a German 6th harmony that resolves to the dominant. The bassoons play a short transition back to the main theme, which is slided and begins this time before the accompaniment figure (ms. 20-22), as it does also in the beginning of the recapitulation. A new figure at the end of the theme leads to a cadence on f-major, dominant of the relative major (b-flat). This is the key of the second subject, which appears after a one-measure grand pause in ms. 43.
The melody of the second theme is "shared" by the strings and winds in a homorhythmic style. The sequence of this interchange is reversed at the repeat of the tune (beginning ms. 52), as the winds play the bulk of the melody in three-octave spacing. An orchestral unison of strings and bassoons in ms. 66-67 leads to a codetta or closing section in b-flat major, which reintroduces the primary motive of the first theme in an imitative, contrapuntal texture (ms. 72-88). A basically homorhythmic tutti with more three-octave passage-work cadences on b-flat-major. This acts as an altered pivot chord (mediant with lowered seventh degree of the scale in g-minor) in an abrupt modulation back to the tonic, reintroducing the exposition or leading to the development section.
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