EXPOSITION - Allegro non troppo, ma con brio, C major

Bars 62 - 78 ( 1st subject) --Theme 1.  Emerging out of the “golden moment” is the “big tune,” the one that was compared with the “joy” theme of Beethoven’s Ninth.  The violins, in their rich low register, present the glorious melody while the low strings pluck beneath them, horns and strings adding support.  The opening upbeat leap is distinctive, and the connection to the “dark” anticipation at the movement’s opening is clear.  Halfway through the melody, in the second phrase, is a melodic turn that is most reminiscent of the Beethoven melody.  This second phrase delays its cadence by a bar as the oboes join in to support it.  This creates a 17-bar melody.
Bars 78 - 93 (Counterstatement of S1) --As the theme reaches its cadence, a second statement, or counterstatement, overlaps it.  This statement of the theme is led by the winds, most of whom play at least fragments of it in gentle harmonies.  Now all strings provide a plucked accompaniment, and they are supported by the timpani.  Small rolls punctuate the timpani part.  At the end of the statement, the volume increases very dramatically.  As the cadence is approached, the violins and violas take up their bows to reiterate and support it.
Bar 94 - 117 (Transition section)--Transition.  What sounds like it will be a third statement of the theme, this time a grand one from the full orchestra, is instead almost immediately fragmented, mainly isolating the opening three-note turn figure.  The motion toward G major begins.  There are two large descents on D minor and A minor with surging bass lines.  The passage is richly scored and heavily accented throughout.
 [bb. 106]--The transition continues with running scales in strings and bassoons.  Winds, brass, and low strings add loud punctuations against these scales.  The motion to G major is delayed by a move back to C.
Bars 114 - 117 (Alphorn theme)--The “alphorn” theme from the introduction appears in its original instruments, flute and horn.  The horn imitates the flute on fragments of the tune.  The strings continue against this with agitated arpeggios, and the cellos and basses add plucked punctuation.  The motion to G major is…