143-167); 2nd part of transition (bars 167-174); 2nd subject group (bars 175-237); and codetta (bars 238-253).The key is F minor as before until bar 175, when there is a modulation to Db major. This is unusual as it is unrelated to the previous key. There are a few changes of mood in the exposition. The first part is much like the introduction, with a battle-like quality to it. However, the transition part slows it down to a halt, and the 2nd part of the transition takes it onto an almost songlike mood. When it reaches the codetta, there is a return to the fate themes already extended, is preparation for the development. A new idea is introduced at bar 67 in the oboes and clarinets. There are a few references to previous material in the exposition, with falling fourths from the 1st (bar 108) movement, and canonic style, which returns at bars 91-2, in the oboe and clarinet, then with an inversion in the horn. There are also a few devices used to show ‘frantic’, with a clear accenting ‘frantic’ (bar 84), and the quavers returing at 106 in the strings. This was a strong influence from Lizst. The development is in 4 or 5 sections, for the purpose of this, it is in 4. Part 1 is from bars 254-289, part 2 is from bars 290-316, part 3 from 317-427, and part 4 from 428-558. There are quite a few modulations in the development, more than in the rest of the movement. For example, in part 1, it begins in G minor (253/4), then goes to A minor (266), then has a hint of Db major (273). In part 1, the woodwind makes a few exclamations, for example at bar 262-3, which links to bar 67.There is a later exclamation at bars 274-6. Part 2 has two key changes, to C major at bar 290, and then to it’s tonic minor (C minor) at bar 312. This part is full of references to previous material, for example, the bird song of the first movement (bar 312) in the strings, with another reference to the first movement in the clarinet ...
