Measures 1 to 17 form a first section that can be reduced to two voices:

• The thematic material of the whole movement comes out of the motive indicated in the first measure.
• This section will be repeated to end the movement.
• The key of F major is maintained throughout the passage.
• The upper voice is provided by the oboe, piccolo violin and first violin.
• We have added expressive slurs to indicate the phrasing.

Played by NotePerformer 3

We can subdivide the motive of the first bar into two motives (red and blue). The image below shows their use in the first four measures and a first variation of the blue motive in the third measure:

From the last eighth note of measure 4, a descending progression begins and the development of the motives continues:

New variations in measures 8 to 11:

In measure 12, an ascending progression rearranges the sixteenth notes of the blue motive into groups of four notes. Creating a rhythmic counterpoint between the bass and the upper voice. The upper voice is organized as a 3/4, while the bass follows the 6/8:

The horns add a counterpoint to these measures:

Played by NotePerformer 3

The following animation shows the major transformations of the red and blue motifs throughout the movement:

The three voices are orchestrated in this way:

• Horn 2 adds counterpoint to horn 1.
• The oboes 2 and 3, the second violin and viola, add a counterpoint to the first oboe, first violin, and piccolo violin.

Orchestrated passage:

Played by NotePerformer 3

• The piccolo violin is the principal soloist in measures 17 to 40 alternating with tutti sections.
• The passage begins in F major and modulates to C major (dominant).
• We have pointed out the appearances of the red and blue motives.

Played by NotePerformer 3

We can simplify the 30 to 34 in an ascending progression in C major:

However, when adding other voices, we find a B flat in measure 31 and a B natural against B flat in measure 34. It is as if some voices were in C and others in F:

Orchestrated passage:

Played by NotePerformer 3

Measures 40 to 53 are similar to measures 4 to 17.

• The first violin is the soloist in measures 40 to 53 alternating with tutti sections.
• The horns and piccolo violin do not play.

Played by NotePerformer 3

Orchestrated passage:

Played by NotePerformer 3

• We start in C major and modulate to A minor.
• The piccolo violin begins as soloist. It is followed by the first oboe and the horns.

Played by NotePerformer 3

Orchestrated passage:

Played by NotePerformer 3

• The piccolo violin begins as soloist and is imitated by the horn one beat later.
• In measures 74 to 80, the soloists are the piccolo and first violin.
• At measure 80, the oboe enters and leads us to a short Adagio that ends the section.

Played by NotePerformer 3

In measures 70 and 71 we see an interesting harmonic interplay:

• In the two lower staves, we see a cycle of a fifth that takes us from A minor to F major.
• In the upper staff (horn), we find an E flat suggesting V7/IV - IV - V7.
• We can speak of superimposed chords: a dominant F over a D minor seventh and a B flat over a G minor seventh.
• F dominant over a D minor seventh chord is a D minor seventh chord with minor ninth.

Orchestrated passage:

Played by NotePerformer 3

We are back in the key of F major.

Played by NotePerformer 3

Orchestrated passage:

Played by NotePerformer 3