RECAPITULATION/DEVELOPMENT

9:48 [m. 186]--Theme 1.  This is the last time the “big tune” will be stated in its entirety.  This time, the scoring is much richer.  The violins still carry the melody, but there are new short, punctuating chords in the winds, along with timpani beats and rolls, and the horns double and harmonize the theme itself.  The trumpets also add punctuation.  The theme’s material follows its first statement quite closely until the end.  The oboe enters to support the cadence, as expected, but it diverts the harmony to a new key, E-flat major, indicating that this is development as well as recapitulation.  The violins confirm the motion to E-flat and bring the theme to a cadence.  This extends the ending of the theme by two bars.
10:27 [m. 204]--The theme has a counterstatement, as before, but it already appears to begin the “development” portion.  Beginning in E-flat in the winds, with plucked string accompaniment, it is suddenly arrested by a horn echo that turns to minor.  There follows a section of plucked string figures passed from violins to low strings that is highly reminiscent of the two strange pizzicato passages from Part 1 of the introduction.  This rapid plucking is supported by chords in horns and bassoons, later trumpets as it builds.
10:41 [m. 212]--The key turns up smoothly to F-sharp major, where the winds attempt to “recover” the counterstatement.  This time, the clarinets and bassoons play “trailing” lines.  The strings keep a vestige of the more rapid pace just heard with notes after the beats in second violins and violas.  As before, a turn to minor, now from a clarinet and bassoon echo, leads to a rapid pizzicato passage reminiscent of the introduction.  Horns and oboes join the clarinets and bassoons as it builds.  Low strings and violins are reversed in position, and the harmonic motion is more dynamic than the first time.
10:55 [m. 220]--Transition.  The digressions of the counterstatement prove to be anticipations, rather than the beginning, of the development portion.  The rapid plucking leads back to the home key of C major, and the transition begins with the grand statement of the theme and the continuation just as it was heard at 7:01 [m. 94], through the large descents on D minor and A minor.  The bass line of the latter is slightly shifted.
11:15 [m. 232]--The “development” actually begins here.  The transition is interrupted by two bars of heavily accented notes with longer echoes, all in the strings, where the running scales would be expected.  The scales do begin after these bars, passed between violins and lower strings, with wind support as before, but the harmonic motion is different, settling this time on D minor.  They are richly harmonized.  The scales retain a descending motion throughout and taper off rather than building up.
11:35 [m. 244]--The scales continue quietly in the strings.  Figures derived from the opening “turn” figure of the main theme are passed between oboe and flute,…