Analysis
Contents
First Movement (Allegro)
Form: Sonata Form. Eb Major.
EXPOSITION (Bars 1-65):
Bars 1-13: First Subject. Tonic key, E flat Major, ends with a Perfect Cadence.
Bars 13.5-25: Bridge Passage or Episode. New Material commences in E flat Major, moves to C minor (Bar 19) and leads to B flat Major.
Bars 25-65: Second Subject. Dominant key, B flat Major. In three sections (Bars 24; 43; 54), modulates to Relative minor key, C minor (Bar 34), to B flat Major (Bar 37), moving to Tonic key, E flat Major (Bar 52) and Relative minor (Bars 52-53), back to E flat Major (Bar 54), to conclude in B flat Major with Perfect Cadence.
Double Bar and Repeat.
DEVELOPMENT SECTION (Bars 66-133):
Commencing in B flat Major with the material of the concluding bars of Exposition, it moves with sequential passages through E flat Major (Bar 69), F minor (Bar 73) to C minor (Bar 76). Material of First Subject ends at Bar 82. Key of C minor continues and moves to A flat Major (Bar 89), F minor (Bar 93), then to D flat Major (Bar 97), returning to F minor (Bar 104). At Bar 113, Dominant note (F) in bass, leads to B flat minor. Another sequential passage (Bars 120-124) leads through F minor, C minor, G Major to a fragment of First Subject in Tonic key. E flat Major (Bar 127), Development Section leads to Recapitulation with a Cadenza (Bar 133).
RECAPITULATION (Bar 133-220):
Bar 133-145: First Subject. Tonic key, E flat Major, ending with Perfect Cadence.
Bar 146-159: Episode or Bridge Passage. Same material as in Exposition, commencing in E flat Major, moving through C minor (Bar 151), A flat Major (Bar 152), F minor (Bar 153), E flat Major (Bar 154), then altered to conclude in Tonic key E flat Major.
Bar 160-192: Second Subject. Tonic key, E flat Major. In Three sections (Bars 160; 174; 181). Passes through F minor (Bar 166), back to E flat Major (Bar 168), F minor (Bar 179) to E flat Major (Bar 186).
Bars 192-220: Coda. Reference to the material of concluding bars of Exposition and material of Episode with quick key changes. A flat Major (Bar 200), B flat Major (Bar 201), C minor (Bars 201-202), E flat Major (Bar 202), to end with Perfect Cadence.
Double Bar and Repeat.
Second Movement (Adagio Cantabile)
Form: Ternary Form. Bb Major.
PART I (Bar 1-58):
Bar 1-8: Principle Theme. Tonic key B flat Major, ends with Perfect Cadence in Dominant key, F Major.
Bars 9-16: VARIATION 1. Commences in B flat Major and ends in F Major with Perfect Cadence.
Bars 17-26: VARIATION 2. B flat Major, moving through A flat Major (Bar 21) to Perfect Cadence in F Major (Bar 25-26).
Bars 27-36: VARIATION 3. Commences in B flat Major, moves to E flat Major (Bar 32), B flat Major (Bar 33). This Variation ends with Perfect Cadence in Tonic key, B flat Major.
Bars 37-52: VARIATION 4. Commences in Tonic key, B flat Major, passes through F Major (Bar 40), B flat minor (Bar 41), E flat minor (Bar 42), returning to F Major (Bar 45), to B flat Major (Bar 47).
Bar 52-56: Coda. Commences in E flat Major, moves to Tonic key, B flat Major (Bar 53), to end with Perfect Cadence.
PART II (Bars 57-81):
Commences in Tonic Minor key, B flat minor, moving to G flat Major (Bar 61), D flat Major (Bar 65). Introduces the Material of Variation in Part I (Bar 67), Still in D flat Major, moving to E flat minor (Bar 70), B flat minor (Bar 72), F Major (Bar 76) returns to B flat Major (Bar 78), ending with Dominant Discord (Bars 79-81).
PART III (Bars 82-125):
Variations again introduced.
Bars 82-89: Principle Theme. Tonic key, B flat Major, ends with Imperfect Cadence (Bar 89).
Bars 90-99: VARIATION 1. Commencing in B flat Major to B flat minor (Bar 94), then to E flat minor (Bar 96), passing though F Major with Chord of the Augmented 6th on the Flattened Second of F Major (Bar 98).
Bars 100-125: VARIATION 2. Commencing in B flat Major, it leads to the Coda (Bar 111), to conclude in the Tonic key, B flat Major, with Double Tonic Pedal-point (B flat) in Bass.
Third Movement (Tempo di Menuetto)
Form: Rondo Form. Eb Major.
PART 1 (Bars 1-26):
In Ternary Form.
Bars 1-9: A. Principle Theme in Tonic key, E flat Major. Modulates to C minor (Bar 6) to conclude in Dominant key, B flat Major. Double Bar and Repeat.
Bars 10-18: B. Episode. E flat Major. Triplet Figure of Bar 4 is used throughout the Episode. Ends with Imperfect Cadence (Bar 18).
Bars 18-26: A. Principle Theme. Tonic key, E flat Major (varied). Perfect Cadence (Bars 25-26). Double Bar and Repeat.
EPISODE I (Bars 27-57):
In Ternary Form.
Bars 27-35: A. Commences in E flat Major, it passes through B flat Major (Bar 32) to end with Perfect Cadence. Double Bar and Repeat.
Bars 36-44: B. Commencing in E flat Major, it passes through A flat Major(Bar 39) to F minor (Bar 42), to end with Imperfect Cadence in E flat Major (Bar 42).
Bars 44-57: A. Tonic key, E flat Major to its Relative Minor, C minor (Bar 48) to E flat Major (Bar 50). Perfect Cadence. Double Bar and Repeat (Bar 52). Supertonic Chromatic Seventh Chord of E flat Major (Bars 54-55) forms Imperfect Cadence (Bars 56-57) in E flat Major.
Principle Theme (Bars 57-65):Tonic key, E flat Major, modulates to C minor (Bar 62), to end with Perfect Cadence in B flat Major. Double Bar. No Repeat.
Bars 66-74: Passage of eight Bars in Tonic Minor key (E flat minor), Material of Principle Theme.
EPISODE II (Bars 75-92):
Commencing in E flat minor, it touches C flat Major (Bar 77) and back to E flat minor (Bar 79), ending with Chord of the Dominant minor 9th (Bars 91-92).
Principle Theme (Bars 93-100): Tonic key, E flat Major, with C minor (Bar 97), to end with Perfect Cadence in B flat Major.
Episode (Bars 100-108): Tonic key, E flat Major
Coda (Bars 108-121): Built upon Material of Theme, ends with Perfect Cadence in E flat Major.
