The new imitative phrase introduced in measure 36 forms a counterpoint to the final reappearance of Th in measure 60.

Score example provided by: Bärenreiter Verlag

Sinfonia No. 13 in A minor

While this Sinfonia may appear to be an ordinary sinfonia at first glance, it possesses a unique characteristic: a considerably high probability of two identical themes (subjects) appearing simultaneously. Let us elaborate.

Let's follow the soprano from bar 1, taking the theme to the first 16th note, A, in bar 3. As is evident, the shaping forms a peak; therefore, expand it to D, the highest note in bar 2, and then gradually diminish, descending to A. Subsequently, all themes are shaped in the same manner.

In bar 5, the alto theme enters. Then, in bar 13, the bass theme enters. At this point, for the first time, all three voices unite. The piece modulates to C major, and the theme appears from bar 21; upon closer inspection, you will notice the theme in both the soprano and alto. Although the rhythm of the first note differs from the original, appearing as an eighth note, it can still be considered a theme.

In bar 25, two themes appear again in thirds, likewise in the soprano and alto. Next, in bar 29, the theme appears in D minor in the soprano alone. Then, in bar 33, the soprano and alto again present two themes simultaneously in thirds.

In bar 41, the bass theme enters, and in bar 42, the alto theme overlaps it. This is, of course, a stretta. Next, in bar 49, although the final note differs, it can be considered the alto theme. Then, in bar 53, the soprano and bass play the theme simultaneously. Finally, in bar 59, the soprano theme appears, concluding the piece; although its final note does not fully resolve, it feels like a conclusion with the subsequent A-G#-A.

As you have observed, this Sinfonia frequently features two subjects appearing simultaneously, either in thirds or sixths. In such cases, it is advisable to prioritize the upper voice and keep the lower voice somewhat subdued. Pay particular attention to this when they are in sixths.

Another point of caution in this Sinfonia is the issue of muddiness caused by excessive pedaling. There are indeed many places that are difficult to connect, leading one to rely on the pedal; however, try to avoid muddiness as much as possible and connect with your fingers.