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in that great phrase (see a, No. 2), notes for which a very remarkable and important rôle is destined. But, though for a moment in B-flat, he has no present intention of remaining there, and he immediately returns into D minor, and gives us this vigorous new phrase, ben marcato and forte in the whole orchestra.
![{ \override Score.TimeSignature #'stencil = ##f \time 2/4 \key d \minor \tempo "No. 6." \relative a'' { a2^\sf_\markup { \smaller \italic "ben marcato." } | g8-![ f-! e-! d-!] | cis-![ d-! e-! f-!] | <g a,>8. r16 <f a,>8. r16 <e a,>8. r16 } }](http://upload.wikimedia.org/score/m/y/mykckcgr5vq63z7fuglaaf9slao3tng/mykckcgr.png)
which he immediately repeats, according to a favorite habit, in a more florid form,—showing at the same time how it can be made to imitate at a bar's interval—and at length arriving at the "second subject" in the key of B-flat. According to the usual rule, the "second subject" should have been in F, the relative major of D minor; but Beethoven has chosen otherwise. Having reached the key of B-flat, he plainly signifies his intention of not going back for some considerable time to D minor, by altering the signature to two flats, a thing which I am not aware of his having done in any other of his Symphonies.
The second subject is as strong a contrast to the first as can be desired or devised:—
