invariable custom to repeat the Exposition, and in Classic Sym-
phonies we always find a double bar with marks of repeat and
two endings. This practice was not an integral part of the form
but was adopted so that the hearer, by going over the themes
of the Exposition twice, might follow more intelligently their
growth in the Development. With the advance in public appre-
ciation this repeating of the Exposition has been largely aban-
doned; for there is no doubt that to begin all over again, when a
certain objective point has been reached, breaks the continuous
flow of the movement.[98]
[Footnote 96: Some composers have also experimented with still
freer key-relationships.]
[Footnote 97: For striking examples see the Expositions of the
first movements of Beethoven’sThird Symphonyand of Tchaikowsky’s
Sixth Symphony.]
[Footnote 98: The ultra-conservative attitude of Brahms is shown
by his retention of the double bar and repeat, although this is
often ignored by modern conductors.]
(2) The Development, for which the Germans have the happy
name of “Freie Phantasie,” or free phantasy; the composer thus
giving rein to his imagination and doing whatever he pleases,
so long as he holds the interest of his hearers and neither be-
comes verbose nor indulges in mere mechanical manipulation.
There are, alas! developments in which the composer exhausts
his themes and his hearers too;[99] but on work of this kind,
since it is not real development but labored jugglery, no powder
need be wasted. Beethoven began the practice, in his Develop-
ments, of not confining himself to the themes of the Exposition
but of introducing an entirely new theme, whenever the main
material had fulfilled its purpose. The single most exciting fac-
tor in a good development is the freedom and wealth of mod-
ulation revealed by the daring genius of the creator; the effect
being Plurality of Key-relationship, in distinction from the two
closely related keys of the Exposition. It would often seem as if
we were taken up into high mountains or borne away to distant
seas. For illustrations of this “free phantasy” note the end of
the Development in the first movement of Beethoven’sSecond
Symphonywhere, after great stress has been laid in the Exposi-
tion on the two basic keys of D major and A major, we are left
in the distant tonality of C-sharp major and are then whirled