=Development of First Movement Form=.—Of Beethoven’s first movements, it may be said that no one has ever spoken with the perfect freedom and naturalness which he displays. Each part of the movement he strengthened and developed; the first section announced two themes, contrasting, but still closely identified; sometimes with a slow introduction to usher them in; the Development was given a contrapuntal treatment, solidified by rich harmonies; the third section was varied by rhythmic or tonal devices, tending to broaden its effect; and, finally, the Coda was sometimes developed to the length of a fourth section, in which reminiscences of material used previously were worked up to a fitting climax. =Devices for Giving Unity=.—But the most evident characteristic which Beethoven put into this form was that of _Unity_, or _Continuity of idea_. This he accomplished by several means. Of these, the first was by separating the most striking parts of his subjects into short, definite phrases or motives, and by introducing these in every variety of manner throughout the movement, sometimes in a sequence on different degrees of the scale, sometimes by imitation in different voices, again by varying the length of the component notes, and finally by dropping off portions, while the portions remaining keep the idea still before the auditor. Or, some casual phrase, in an unimportant section, will strike his fancy and he will develop it with a wealth of imagery astonishing in its inventiveness.[10] =Continuity of Various Parts=.—This constant presentment of a thematic idea also serves to bind passages closely together which, in the sonatas of Haydn and Mozart, were separated by definite pauses. Indeed, Beethoven sedulously _avoids a complete cadence_, seeking, by leading the listener eagerly on from one connecting phrase to another, to retain the interest and make it mount up higher and higher, as the effects grow in intensity. So phrases are made to overlap one another, with their boundaries practically eliminated. It has been said that Beethoven tore down the fences which Haydn and Mozart had erected between the various parts of the Sonata Form; and this is proven by the fact that, in the Beethoven sonatas, authorities frequently differ as to where one part ends and another begins, so close and continuous is the bond between them.