The passage quoted in Figure H makes the A–A–G motive explicit. For the remainder of the exposition, the A–G connection predominates. Figure I marks a turning point in the motivic life of the piece: here the tetrachord figure appears in both descending and ascending forms. This signals the onset of the development’s voice leading (Figs. J–L).
Measures 41–54: Berlin Philharmonic Orchestra, Wilhelm Furtwängler, 1943