1. Exposition
a) First Subject (F minor, mm. 1–8)
The movement opens quietly (piano) in F minor. There is a sharp contrast between the staccato, leaping arpeggio figure in the right hand (motif A) and the sequential, legato melodic line (motif B) that follows. The motive of measures 1–2 is immediately repeated in the dominant harmony in measures 3–4.
From measure 5, motif B is developed through sequential repetition, the dynamics intensifying as the melody ascends. In measure 7, after a fortissimo climax, the dynamics subside, and through a progression of i – ii°6 – V, the first subject ends in a half cadence at measure 8.
b) Transition (mm. 9–20)
Motifs A and B from the first subject are developed here, with gradual modulation away from the tonic. The music begins in the dominant minor, C minor, and then moves to A-flat major via pivot chord modulation. The section closes with a half cadence on the dominant of A-flat major.
c) Second Subject (A-flat major, mm. 21–41)
The second subject, beginning seamlessly after the transition, appears in the relative major key (A-flat major), as is traditional in classical sonata form. In contrast to the first subject, this theme is characterized by descending, legato arpeggios. After the half cadence, the dominant (V) is sustained as a pedal, further reinforcing the key. Repetition and extension of phrases follow, and from measure 33, both hands move in contrary motion. This leads to a repeated progression of I – ii – I^64, concluding the section with a perfect authentic cadence (V7 – I).
d) Codetta (Cadence Theme, mm. 41–48)
The closing theme introduces new melodic material. The off-beat chords in the left hand resemble those of the first subject. The key of A-flat major is maintained, with the appearance of secondary dominants such as vii°7/V. The exposition ends with a perfect authentic cadence (V – I) in A-flat major.
2. Development (mm. 49–100)
mm. 49–55
The development section begins by referencing the first subject’s motives, now in the tonic of A-flat major (the relative major of the home key), rather than F minor.
mm. 56–81
From measure 56, material from the second subject of the exposition is developed in sequential repetition. Unlike the exposition, which began with the dominant of A-flat major, here the dominant of B-flat minor is the starting harmony. The dominant pedal (V) reinforces the tonal center, and at measure 63, the music shifts to the dominant of C minor, which is a fifth away from the home key. The passage accelerates toward the return of F minor.
mm. 81–100
This section is built on an extended dominant of the home key, F minor. The V – I^64 progression is repeated, conveying an increasing urge to return to the tonic. The 16th-note embellishments from the first subject evolve into trills, and phrases become shorter and more fragmented.
A retransition is marked by repetition of motif B from the first subject, leading into the recapitulation. The left hand descends stepwise from C to F. The first subject then returns, signaled by a strong V – I progression in the tonic key.
3. Recapitulation (mm. 101–152)
The recapitulation is structured similarly to the exposition. However, both the second subject and the closing theme are now presented in the tonic (F minor).
The first subject appears almost identically, but now starts forte rather than piano, in contrast with the exposition. The section again ends with a half cadence on V, but the transition remains in the tonic instead of modulating.
The second subject is also restated in the tonic. The section concludes with a perfect authentic cadence (V – I), followed by a brief cadential theme. This is similar to the exposition but now features stronger dynamics and accents, and the movement is finally brought to a close with a ii – V – i progression in F minor.
1. Exposition
a) First Subject (F minor, mm. 1–8)
The movement opens quietly (piano) in F minor. There is a sharp contrast between the staccato, leaping arpeggio figure in the right hand (motif A) and the sequential, legato melodic line (motif B) that follows. The motive of measures 1–2 is immediately repeated in the dominant harmony in measures 3–4.
From measure 5, motif B is developed through sequential repetition, the dynamics intensifying as the melody ascends. In measure 7, after a fortissimo climax, the dynamics subside, and through a progression of i – ii°6 – V, the first subject ends in a half cadence at measure 8.
b) Transition (mm. 9–20)
Motifs A and B from the first subject are developed here, with gradual modulation away from the tonic. The music begins in the dominant minor, C minor, and then moves to A-flat major via pivot chord modulation. The section closes with a half cadence on the dominant of A-flat major.
c) Second Subject (A-flat major, mm. 21–41)
The second subject, beginning seamlessly after the transition, appears in the relative major key (A-flat major), as is traditional in classical sonata form. In contrast to the first subject, this theme is characterized by descending, legato arpeggios. After the half cadence, the dominant (V) is sustained as a pedal, further reinforcing the key. Repetition and extension of phrases follow, and from measure 33, both hands move in contrary motion. This leads to a repeated progression of I – ii – I^64, concluding the section with a perfect authentic cadence (V7 – I).
d) Codetta (Cadence Theme, mm. 41–48)
The closing theme introduces new melodic material. The off-beat chords in the left hand resemble those of the first subject. The key of A-flat major is maintained, with the appearance of secondary dominants such as vii°7/V. The exposition ends with a perfect authentic cadence (V – I) in A-flat major.
2. Development (mm. 49–100)
mm. 49–55
mm. 56–81
From measure 56, material from the second subject of the exposition is developed in sequential repetition. Unlike the exposition, which began with the dominant of A-flat major, here the dominant of B-flat minor is the starting harmony. The dominant pedal (V) reinforces the tonal center, and at measure 63, the music shifts to the dominant of C minor, which is a fifth away from the home key. The passage accelerates toward the return of F minor.
mm. 81–100
A retransition is marked by repetition of motif B from the first subject, leading into the recapitulation. The left hand descends stepwise from C to F. The first subject then returns, signaled by a strong V – I progression in the tonic key.
3. Recapitulation (mm. 101–152)
The recapitulation is structured similarly to the exposition. However, both the second subject and the closing theme are now presented in the tonic (F minor).
The first subject appears almost identically, but now starts forte rather than piano, in contrast with the exposition. The section again ends with a half cadence on V, but the transition remains in the tonic instead of modulating.