In providing a general outline of each movement, with charts and musical examples, this chapter aims to be a convenient summary of the symphony as a whole to which the reader may refer in following the more specific local arguments in the next four chapters. The examples are keyed to the tables.

Movement 1: Allegro vivace (Table 4.1. and Example 4.1). A fully elaborated sonata form with clearly articulated divisions, this movement adumbrates elements of the second, third, and fourth movements (textures, metrical ambiguities, registral oppositions, harmonic interjections beginning in C minor). It also embodies a dramatic movement from the grand style of the opening theme to the thin-textured lyricism of the second theme, to the accessible, more popular and even folk-oriented closing theme. Yet it is the closing theme that generates the development. To resolve this progression is one of the tasks of the finale.

It is not necessary to indulge in minute thematic-resemblance hunts in order to appreciate the significance of elements of the first movement that appear in subsequent parts of the symphony. They are, in order of appearance in the first movement:

1. Tutti portion of opening theme, leading to half cadence, followed by soft reiteration of opening theme: same in finale.

2. […]