First Movement

A three-part sonata movement skillfully employing techniques such as dialogue, inversion, and repetition; it is effective to express this by being mindful of techniques such as thematic contrast and development.

This is a sonata-form movement consisting of three parts – exposition, development, and recapitulation – where the first theme, beginning over a detached low-voice tremolo, and the light second theme, primarily staccato and incorporating elements of dialogue, are contrasted, unfolding a diverse development. The development section is structured with inversion and repetition (sequence), and in the recapitulation, both the first and second themes are restated with some variations.

Exposition, consisting of a first theme that shows variation within itself and a second theme that exhibits elements of dialogue.

The first theme, characterized by repeated low notes, and the second theme, where upper and lower voices respond to each other in one-measure units, are juxtaposed. Furthermore, within each theme, there are contrasting movements. The first theme contrasts the first four measures, where the low voice is detachedly articulated, with the latter four measures, where there is movement in both upper and lower voices. It is interesting to express the contrast between the first and second halves. This first theme is confirmed from measure 9 onwards; while the first half remains largely the same, the latter half moves with transitions (accompanied by modulation to the dominant key). It is also interesting to express stability and change.

On the other hand, the second theme, characterized by staccato and contrapuntal interplay in measures 18 and 19, is emphasized through repetition in measures 20 and 21, and further in the confirming-like measures 23 and 24. However, from measure 23 onwards, there are changes, such as the inversion of the upper voice of the theme from measure 18, and the lower voice from measure 19 being used an octave lower. It is effective to express both the emphasis created by repetition and the musical differences brought about by variation. In the codetta from measure 28, the bass figure from measures 5 and 6 of the first theme is placed, recalling the first theme, while a constantly ascending scale is also placed, creating the climax of the exposition.

Development section, where material from both themes intertwines and progresses.

Diverse developmental techniques are employed in the development section. In measures 31-33, the rhythm of the second theme (broadly speaking) ascends in three stages by a second each over the dominant of F major, beginning to gradually lead towards the subsequent development. From measure 34, it is placed over alternating dominant and tonic chords of D minor, and the tension rapidly increases. At this point, the lower voice combines the rhythm of the first theme, while the upper voice combines material based on the initial part of the second theme's rhythm. In measure 35, the rhythm of the third beat of measure 34 is continuously used, and each beat of the bass ascends by a second, expressing a sense of unfolding in two-part motion. Furthermore, in measures 36 and 37, although based on the repetition of measures 34-35, there are subtle changes such as the third beat of measure 36 leaping more significantly than before, and the upper voice figure in measure 37 using a varied form of the figure from each beat of measure 35. A brief transitional section is inserted by a two-measure sequence from measures 38-41, but in measure 42, the bass returns to continuous repeated notes, and the right hand also uses a continuous repeated figure, simultaneously modulating to the double dominant of the tonic key (the dominant of C major). It is effective to express a sudden shift from a sad minor atmosphere to a rapid approach to the climax. In measures 43-45, over a dominant pedal point in F major, the upper voice continuously uses ascending sixteenth-note figures, moving towards the climax, and in measure 45, the melody reaches its highest register, continuously used over the dominant, reaching its peak. It is advisable to consider expressions that correspond to the diverse developmental movements.

Recapitulation, rich in variation, largely based on the exposition but with some differences in its restatement.

The recapitulation largely follows the exposition but includes some variations. It begins in the same form as the exposition at the beginning of the piece (from measure 48), but the confirming section corresponding to measures 9-12 of the exposition is omitted, and a reminiscent atmosphere is created by a brief visit to the subdominant key (B-flat major) in measure 52, and a poignant feeling by a visit to the supertonic key (G minor) in measure 55. This reminiscent and poignant feeling is then abruptly swept away by the movement in measures 56-57 (a phrase not present in the exposition). An expression that rapidly changes the atmosphere from measures 52 and 55 onwards, returning to the original mood of the piece, could be considered.

From measure 59, the second theme is recapitulated. The first two measures are recapitulated in F major in almost the same form as in the exposition, but the latter two measures use the upper voice in an inverted form (a form used in the confirming section of the exposition). Furthermore, in the confirming-like section from measure 64, the part from measure 59 is recapitulated an octave higher, and in measure 66, the upper voice is inverted as in measure 61, among other changes. It is also interesting that in the coda from measure 69, in direct contrast to the section from measure 28, the piece concludes by contrastingly using a descending scale figure in the opposite direction. Inversion is skillfully utilized in the resolution. It would be effective to express these variations in some distinct way.