Sonata Form

• Exposition

• First Subject (measures 1-8)
• Second Subject (measures 9-20)
• Closing Section (measures 21-24)

• Development

• First Subject Development (measures 25-32)
• Transition (measures 33-36)

• Recapitulation

• First Subject Recapitulation (measures 37-42)
• Second Subject Recapitulation (measures 43-56)
• Closing Section (measures 57-60)

The tonic key is F minor. The first subject features a motif reminiscent of a Siciliano rhythm, recalling the opening theme of the second movement of Piano Concerto No. 23, K. 488. It has a polyphonic structure, consisting of three or four voices.

The second subject modulates to the relative major, A-flat major, where a sixteenth-note accompaniment figure appears, making the music flow more smoothly. Unlike the polyphonic first subject, it has a simpler structure, divided into melody and accompaniment. The melodic line, punctuated by short eighth rests, becomes more expressive. In contrast to the first subject, which might be likened to an instrumental ensemble of multiple instruments, the second subject evokes a vocal piece, expressively sung against a quiet instrumental accompaniment.

Following the cadential formula in measure 12, measure 13 presents a poignant augmented sixth chord of the double dominant. The upper voice melody ascends to a diminished fifth, then weakly resolves to the dominant in the next measure. This is an emotionally rich passage.

In measure 19, a VI chord of a deceptive cadence appears at the beginning, with a dynamic marking of forte, again conveying a heightened sense of emotion.

From measure 21, whether this section should be considered a closing section or a coda is debatable. In terms of scale, it resembles a short coda; unlike a typical sonata form where a closing theme is developed in the closing section, it is simply repeated an octave lower before concluding.

The development section begins in measure 25 with a diminished seventh chord in B-flat minor. From measure 29, it is imitated in three voices, modulating to C minor. The four measures from measure 33 constitute a transitional passage where the first subject motif is developed in C minor, leading to the recapitulation.

The recapitulation begins in measure 37. At this point, the first subject is shortened to six measures, with the repetition in the latter half of the phrase omitted. The second subject is recapitulated from measure 43 in the tonic key of F minor. From measure 57, the closing section begins, concluding with a perfect cadence in the tonic key of F minor.