Example 4:
Derivation of the third subject (top stave) from the first (bottom
stave)
Leichtentritt also highlights the presence of rhythmic
interconnection between themes. He emphasises the importance of the rhythm of
the first subject of the first movement in that variants thereof are found in
the themes of the Scherzo and the March. As shown in Example 5, rewriting the rhythmic
outline of the first subject in 4/4 reveals how extensively this rhythm is used
throughout the Scherzo in various forms. The octave passage in bars 183-188,
the accompaniment figure of the Trio, and the main theme of the Scherzo
beginning in bar 1 are all rhythmically derived in some way from this first
subject. Similarly, a link between this subject and the main theme of the March
is also evident, as shown in Example 6:
Example 5: Rhythmic
interconnection between themes
