10
This is repeated, after a bar's interval, with the difference that the First Violins begin on the upper A instead of on the E, and that a clarinet is added to the accompaniment; and then the phrase is given a third time, but with a very Beethovenish difference. The intervals remain the same, but the phrase is hurried twice, the second time more hurried than the first; and so, at last, the Wind instruments coming in one by one, and the whole increasing in force bar by bar, we are launched into that tremendous unison of the Orchestra in the successive intervals of the chord of D minor, which really forms the principal subject or animating spirit of the movement.
![{ \override Score.TimeSignature #'stencil = ##f \time 2/4 \tempo "No. 2." \key d \minor \partial 32 << \relative d''' { d32 | a4 ~ a8.. f32 | d8.. a32 f8. a32 f | d4 ~ \stemDown d16 f'-! ^"(a)" e-! d-! | a'8-![ g-! e-! a-!] | d,8. }
\new Staff { \clef bass \key d \minor \relative d' { d32^\ff^\markup { \tiny 8ves. } | a4 ~ a8.. f32 | d8.. a32 f8. a32 f | d'4 ~ d16 f-! ^"(a)" e-! d-! | a'8-![ g-! e-! a-!] | d8. } } >> }](http://upload.wikimedia.org/score/t/g/tgpv53cocbl6dc95erw5b8khq5x93jo/tgpv53co.png)
It is now easy to see, what at first sight may not be apparent to every one, that the first broken phrases of the First Violins, Tenors, and Basses are, in fact, the same with the great subject itself, except for the mysterious vagueness which they acquire
