Analysis
Contents
First Movement (Allegro Con Brio)
Form: Sonata Form. D Major.
EXPOSITION (Bars 1-40):
Bars 1-8: First Subject. Tonic key, D Major, ends with Perfect Cadence.
Bars 9-16: Bridge Passage or Episode. New Material in D Major, ends with Imperfect Cadence.
Bars 17-35: Second Subject. Dominant Key, A Major, moves through B minor (Bar 19) back to A Major (Bar 22), with interesting use of Neapolitan 6th at Bar 30, ends with Perfect Cadence (Bar 34-35).
Bars 35-40: Coda. Ends with Perfect Cadence in A Major.
Double Bar and Repeat.
DEVELOPMENT (Bars 41-60):
Commences with Material of First Subject in Dominant key, A Major, passing though B minor (Bar 42), A Major (Bar 45), D Major (Bar 46), in which key new material is introduced (Bar 47), returning to Relative minor, B minor (Bar 51) in which key it leads to E minor (Bar 59) by means of Neapolitan 6th (Bar 55) and Chord of the Supertonic Chromatic Seventh and Tonic Chord of B minor (Bars 56-57). The Chord of the Dominant Seventh of B minor (Bar 58) becomes Supertonic Chromatic Seventh of E minor, resolving upon Dominant Seventh Chord of E minor on to Tonic Chord (Bar 59). Development Section ends with the Chord of the Dominant Seventh in D Major.
RECAPITULATION (Bars 61-103):
Bars 61-74: First Subject. Tonic key, D Major. This time the subject is extended and elaborated, touching A Major (Bar 71) to end with Perfect Cadence in D Major (Bar 74).
Bars 74-79: Bridge Passage or Episode. Commences in Tonic key, D Major, and ends with Perfect Cadence in the Dominant, A Major.
Bars 80-98: Second Subject: Tonic key, D Major. Modulates to A Major (Bar 84), returning to D Major (Bar 86), leading to Coda with Chromatic Concord on flattened Sub-mediant (Bar 93), Supertonic Chromatic Ninth (Bar 95) and Perfect Cadence (Bars 97-98).
Bars 98-103: Coda. Consists mainly of Dominant and Tonic Harmonies.
Second Movement (Largo E Sostenuto)
Form: Binary Form. D Minor.
PART I (Bars 1-9):
Commences in Tonic key, D minor, moving to Relative Major, F Major (Bar 5), to end with Perfect Cadence.
Double Bar and Repeat.
PART II (Bars 10-19):
Sub-dominant key, G minor, moving to Tonic, D minor (Bar 12), leading to Imperfect Cadence (Bars 17-19) with Tonic Chromatic Seventh (Bar 15) Chord of the Neapolitan 6th (Bar 16)
Third Movement (Presto, Ma Non Troppo)
Form: Rondo Form. D Major.
Principle Theme (Bars 1-22):
Tonic key, D Major. Passing though Relative minor, B minor, to end with Perfect Cadence in the Dominant, A Major (Bar 9). Double Bar and Repeat. E minor (Bar 10) to D Major (Bar 13), touching G Major (Bar 19) to end with Perfect Cadence in D Major (Bar 22).
Double Bar and Repeat.
EPISODE I (Bars 23-44):
Commences in Tonic minor key, D minor, moving to its Relative Major, F Major (Bar 28), with Perfect Cadence, Double Bar and Repeat (Bar 31). Then G minor (Bar 32), passing though D minor (Bar 38), F Major (Bar 40), to end with Perfect Cadence in D minor (Bar 44).
Double Bar and Repeat.
Principle Theme (Bars 45-66):
Tonic key, D Major. Perfect Cadence, A Major (Bars 52-53) with Double Bar and Repeat. E minor (Bar 54) returning to Tonic key, D Major (Bar 57), touching G Major (Bar 63) to end with Perfect Cadence in D Major (Bas 65-66).
Double Bar and Repeat.
EPISODE II (Bars 67-102):
Commencing in G Major (Sub-dominant key of D Major), Double Bar and Repeat (Bar 75), touches D Major (Bar 79), returning to G Major (Bar 81). Double Bar and Repeat (Bar 88), E minor (Bar 90), D Major (Bar 92), A Major (Bar 94), with Dominant Pedal-point (A) of D Major (Bar 97), to lead to re-entry of Theme.
Principle Theme (Bars 103-143):
Commencing in Tonic key, D Major it moves though Relative minor, B minor (Bar 107) to A Major (Bar 108). The Theme is then varied and extended to develop into a Coda, D Major (Bar 111), B minor (Bar 116), A Major (Bar 117) to E minor (Bar 119), D Major (Bar 121), E minor (Bar 131) to return to Tonic key, D Major (Bar 133) to end Sonata with Perfect Cadence (Bar 141-143).
