The Bridge commences, and leads us to the second theme.
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The function of the bridge is to lead us from the first theme's key to the key introduced in the second theme.
During the classical period, a composer would set up a strong conflict between the first theme's tonic key and the new key in the contrasted second theme. Usually, when the first theme was in a major key (C major, for instance), the bridge or transition would lead to the dominant key (G major, in this case). But, when the home key was a minor one (C minor, as in this Symphony), then the second key would be the relative major one (in this case, E flat major). This is what Beethoven has done.
Most transitions or bridges are usually built up of short musical passages, which recur two or more times in the same manner, or in sequential repetitions.
In this bridge, Beethoven brings forth three arpeggio "landslides" in an ascending sequential motion. Note the interesting contrast between the ascending sequences and the falling arpeggios.
Each of the falling arpeggios gradually leads us to the new key. In this way, Beethoven builds the modulation from C minor to E flat major, thus creating a feeling of harmonic tension and forward motion.
