s in which
the composer exhausts his themes and his hearers too;[99] but on work
of this kind, since it is not real development but labored jugglery,
no powder need be wasted. Beethoven began the practice, in his
Developments, of not confining himself to the themes of the Exposition
but of introducing an entirely new theme, whenever the main material
had fulfilled its purpose. The single most exciting factor in a good
development is the freedom and wealth of modulation revealed by the
daring genius of the creator; the effect being Plurality of
Key-relationship, in distinction from the two closely related keys of
the Exposition. It would often seem as if we were taken up into high
mountains or borne away to distant seas. For illustrations of this
"free phantasy" note the end of the Development in the first movement
of Beethoven's _Second Symphony_ where, after great stress has been
laid in the Exposition on the two basic keys of D major and A major,
we are left in the distant tonality of C-sharp major and are then
whirled back, by a dramatic change, into the home-key of the third
part. One of the most interesting studies in the workings of a great
mind is to observe how Beethoven, in his developments, allows the
excitement to subside and yet never entirely die out, and how deftly
he leads the hearer onward to the summing up of the main themes of the
exposition.

[Footnote 99: It was probably a development of this kind which called
forth the characteristic comment from Debussy who once remarked to a
friend at a concert, "Let us flee! he is going to develop."]

(3) The Recapitulation or Resume, in which both the themes of the
Exposition are reasserted, each in the home key--a strong final
emphasis thus being laid on _Unity_ of Tonality. The bridge-passage
has to be correspondingly changed, for now the modulation is between
two themes _both_ in the _same key_. To achieve such a modulation is
quite a "tour de force" as every musician knows, and often taxed the
ingenuity even of the great Beethoven. The skill by which he always
made the second theme sound fresh and vital is astounding. For a case
of "academic fumbling"--mere treading of water--in this adjustment of
key relationship, see the Recapitulation of the first movement of
Brahms's Second Symphony. To secure unbroken continuity and to avoid
vain repetitions[100] there is no portion of the Sonata-Form which has
been more modified by the inventive genius of modern comp