(Bar Analysis
Contents
First Movement (Allegro)
Form: Sonata Form. Eb Major.
EXPOSITION (Bars 1-43):
Bars 1-8: First Subject. Tonic key E flat Major, Tonic Chord is immediately followed by Tonic Chromatic chord of the 13th (Bar 1) with chord of the Dominant 7th and Tonic chord forming a Perfect Cadence (Bar 2). Subject Ends with Imperfect Cadence (Bar 8).
Bars 9-27: Bridge Passage or Episode. Commencing with opening chords in E flat Major, moving, with chromatic Passing notes to B flat Major (Bar 13), E flat Major (Bar 17) to B flat Major (Bar 18) to Relative Minor. C minor (Bar 20) returning to Dominant key, B flat Major (Bar 20); touching tonic keys E flat Major (Bar 25) to end with Perfect Cadence in B flat Major (Bar 27).
Bars 27-43: Second Subject. Commencing in Dominant key, B flat Major, it moves to B flat minor (Bar 29) returning to B flat Major (Bar 32) to end with Perfect Cadence (Bar 27).
Double Bar and Repeat.
DEVELOPMENT (Bars 44-78):
Commences with the Dominant Triad of E flat Major followed by the Chord of the Augmented 6th (Italian Form) in C minor (Bar 44), then the material of the Second Subject appears in F Major (Bar 46), passing through D minor (Bar 48), B flat Major (Bar 49), moving to G minor in the same bar, passing C minor (Bar 54), to F minor (Bar 58), A flat Major (Bar 59), then modulating to C minor (Bar 64) with the Supertonic Chormatic Chord of the 9th in C minor. Material of the Second Subject appears again in A minor (Bar 68), D minor (Bar 70), B minor (Bar 72), returning to the Tonic key, E flat Major (Bar 77).
RECAPITULATION (Bars 79-116):
Bars 79-86: First Subject. Tonic key, E flat Major.
Bars 86-98: Bridge Passage or Episode. Commencing in B flat Major, passing though F minor (Bar 87), C minor (Bar 88), to E flat Major (Bar 89).
Bars 98-116: Second Subject. Tonic key, E flat Major, passing through Tonic minor, E flat minor (Bar 100) back to E flat Major (Bar 103) to conclude with Perfect Cadence in Tonic key (Bars 114-116).
Second Movement (Adagio)
Form: Ternary Form. E Major.
It is interesting to note Haydn’s choice of key, E Major, being an unrelated key to the Tonic key, E flat Major.
PART I (Bars 1-19):
Bars 1-9: Theme I. Commences in E Major, passes through Relative minor, C sharp minor (Bar 6) to end with Perfect Cadence in Dominant B Major.
Bars 10-19: Theme II. Commences in C Major moving to E ajor (Bar 13), F sharp minor (Bar 16), to end with Perfect Cadence in E Major.
Double Bar and Repeat.
PART II (Bars 20-33):
Bars 20-25: Theme I. Commences in Tonic minor key, E minor, modulating to G Major, (Bar 21), A minor (Bar 23), returning to G Major (Bar 24), Perfect Cadence (Bar 25).
Bars 26-33: Theme II. Commencing with “Inverted Dominant Pedal-point” of G Major (D in treble), it moves at once to E minor (Bar 27), A minor (Bar 28), returning to E minor (Bar 29), ending with Chord of the Dominant Minor 9th (Bar 33).
Double Bar and no Repeat.
PART III (Bars 34-55):
Bars 34-41: Theme I. Slightly elaborated with same key changes as in Part I.
Bars 42-51: Theme II. Commences in C Major, moving quickly to Tonic key, E Major.
Bars 51-55: Coda. Tonic Pedal-point (E) Perfect Cadence.
Third Movement (Presto)
Form: Sonata Form. Eb Major.
EXPOSITION (Bars 1-103):
Bars 1-29: First Subject. Tonic key, E flat Major, Tonic Pedal-point (E flat) in Bass moves to F minor (Bar 10) with Tonic Pedal-point of F minor (F) in bars 11-17 returning to Tonic key, E flat Major (Bar 18) ends with Perfect Cadence (Bars 27-29).
Bars 29-45: Bridge Passage or Episode. Commencing in Relative Minor key, C minor, it modulates to Dominant key, B flat Major (Bar 36), F Major (Bar 41), to end with chord of the Dominant minor 9th and Tonic chord forming a Perfect Cadence in F Major.
Bars 45-103: Second Subject. Dominant key, B flat Major. In three sections (Bars 46; 65; 79) through C minor (Bar 58), B flat Major (Bar 65), B flat minor (Bar 79), returning to B flat Major.
Double Bar and Repeat.
DEVELOPMENT (Bars 104-205):
Commences with Material of Section 3 of Second Subject in the key of Relative Minor, C minor, introducing Material of Section 1 of the Second Subject in Supertonic Minor key, F minor (Bar 112). Material of First Subject enters in A flat Major (Bar 125), leading to extended Passage Playing (Bar 136), returning to Tonic key, E flat Major (Bar 138), passing through B flat minor (Bar 152), again returning to Tonic key, E flat Major (Bar 153), moving to Relative Minor key, C minor (Bar 166), ending this section of the Development with Imperfect Cadence (Bar 172) in C minor. Material of Exposition is again used in E flat Major (Bar 173), A flat Major (Bar 182) to F minor (Bar 186) when the harmonies lead to Tonic key (E flat Major) with the Supertonic Chromatic Seventh (Bar 198) to Chord of the Dominant Seventh, E flat Major (Bar 201).
RECAPITULATION (Bars 206-400):
Bars 206-234: First Subject. Tonic key, E flat Major, modulates to Supertonic Minor, F minor (Bar 215), returning to Tonic key, E flat Major (Bar 228).
Bars 234-249: Bridge Passage or Episode. Commences in Relative Minor key, C minor, moves through A flat Major (Bar 239) to F minor (Bar 242) to Dominant key, B flat Major (Bar 244), to end with Perfect Cadence.
Bars 249-340: Second Subject. Tonic key, E flat Major. In three sections (Bars 249; 270; 285). Commencing in E flat Major, it passes through F minor (Bar 256), E flat Major (Bar 260), C minor (Bar 261), F minor (Bar 264), E flat Major (Bar 266), F minor (Bar 279), E flat Major (Bar 281), Tonic minor, E flat minor (Bar 294), returning to Tonic key, E flat Major (Bar 298) and Ending with Perfect Cadence (Bars 303-304). Tonic Pedal-point in Bass (Bars 298-302; 304;306). Inverted Tonic Pedal-point in treble (Bars 306-308).
