en courses at a royal feast. In Mozart we
find the bridge-passage more deftly planned, more organically
connected with what precedes and follows; but it was Beethoven who, in
this portion of the movement, first revealed its possibilities.
Throughout his works the bridge-passage is never a mere mechanical
modulation or a floundering about until the introduction of the second
theme, but is so conceived that the interest of the hearer is
increasingly aroused until, at the entrance of the second theme, he is
in the highest state of expectancy.[97] A bridge-passage of this kind
often has a subsidiary theme of its own, or even several melodic
phrases, and is planned as carefully as the action by which a
dramatist leads up to the entrance of his heroine. After the second
theme we generally find a closing theme to round out the Exposition as
a whole. This practice dates from Haydn and has been much expanded by
modern composers. Witness the glorious climactic effect in Cesar
Franck's _Symphony_ and in Brahms's _D major Symphony_ of the closing
themes in the Expositions of the first movements. For many years it
was the invariable custom to repeat the Exposition, and in Classic
Symphonies we always find a double bar with marks of repeat and two
endings. This practice was not an integral part of the form but was
adopted so that the hearer, by going over the themes of the Exposition
twice, might follow more intelligently their growth in the
Development. With the advance in public appreciation this repeating of
the Exposition has been largely abandoned; for there is no doubt that
to begin all over again, when a certain objective point has been
reached, breaks the continuous flow of the movement.[98]

[Footnote 96: Some composers have also experimented with still freer
key-relationships.]

[Footnote 97: For striking examples see the Expositions of the first
movements of Beethoven's _Third Symphony_ and of Tchaikowsky's _Sixth
Symphony_.]

[Footnote 98: The ultra-conservative attitude of Brahms is shown by
his retention of the double bar and repeat, although this is often
ignored by modern conductors.]

(2) The Development, for which the Germans have the happy name of
"Freie Phantasie," or free phantasy; the composer thus giving rein to
his imagination and doing whatever he pleases, so long as he holds the
interest of his hearers and neither becomes verbose nor indulges in
mere mechanical manipulation. There are, alas! development