The development begins with a transformed motif from the main theme. Instead of the original 4th a 6th is used. With a start in forte the orchestra takes over the final passage of the main theme unisono, returning to piano after 2 bars.|
A tutti with the triad fragmentations from the bridge of the exposition sounds all the more powerful. A subject split from the triad motif introduces a chromatic passage.
The final phase of the development serves the formation of cadenzas. Via F sharp Haydn moves to B minor and the frequently repeated eighth note runs in B. They form the end of the exposition as well as of the development and lead on to the recapitulation of the main theme.
The recapitulation, often a repetition of the used themes in the root key of the symphony, deviates from the exposition by leaving out passages and adding new ones. E.g. the bridge with the triad fragmentations and the repetitions of the main theme are omitted.
The secondary theme occurs only once.
The real elaboration takes place in the recapitulation and not - as usual - in the development. Rearrangements of the thematic material produce new interconnections. The classical sonata form becomes a formal structure, the meaning lies in the musical process and is determined b by the thematic material. The main theme is played by viola, cello, double-bass and bassoon, counterpointed by violin 1 and 2 with the transformed main theme. The passage ends with the theme played unisono in the orchestra until the full orchestra plays cadences in the dominant seventh and simple chords close the "development section" of the recapitulation.
The end of the movement is approaching. Lilting upbeats of the main theme precede a twice repeated statement of the main theme, starting in the 1st violins, then slightly extended in a repetition and finally in the flutes.
The main theme is followed by the theme of the closing group.