; or better still, when possible, the
arrangement for two pianofortes.[119] The second phrase of the first
theme is considerably expanded by repetition, as if unable to stop
from sheer exuberance, but finally reaches a cadence in the dominant
key in the 32nd measure. We are at once taken back, however, to the
home-key of G major; and, in measure 40, the first theme is repeated,
this time delicately embellished with phrases on the flute. From now
on, by reason of the emphasis laid on the key of D major, it is
evident that we are in the transitional passage and are heading
towards the announcement of the second theme. It must be said that
Haydn does not drive very straight at his mark; though it is a
pleasant touch of variety in measures 55-57 to introduce the main
theme in the minor mode, and though the fiery violin passages in the
following measures give an air of considerable excitement. What stands
for the second theme begins in measure 67. This portion of the
movement has no theme with genuine individuality, but consists of
running passages--based exclusively on tonic and dominant harmonies in
the new key, and of little import save one of general vivacity. It is,
however, decidedly alive--not stagnant or flabby--and in the orchestra
it all "comes off." We are rewarded, finally, by a clear-cut closing
theme of jaunty rhythm, _e.g._,

[Music]

which Haydn liked so much that it is presented twice, the second time
slightly embellished. The Exposition closes with the conventional
insistence upon a strong cadence in the key of the second theme. The
Development begins with some rather fragmentary treatment of the first
theme; then, after some fugitive modulation into flat keys, contents
itself with running passages and a series of iterated notes. Of
organic and sustained development, such as Haydn indeed sometimes
attained, there is little trace. Even so we must be chary of sweeping
condemnation; for there are well-planned dynamic contrasts and the
instruments are used in such a natural way--especially the figure in
the double basses (measures 149-153)--that the scene is one of
animation, though perhaps no more than one of aimless gambols. There
is sufficient modulation, so that the principle of Plurality of key is
carried out. We are suddenly but gracefully led back, in measure 155,
to the repetition of the first theme, thus beginning the
Recapitulation. This portion, with certain abbreviations, is an almost
exact dupli