First Movement: 2/4, 3/4 Moderately Fast, Mäßig schnell (♩108)

Although it can be considered a sonata-allegro form, its concise development section allows it to be interpreted more as a sonatina.

Exposition (Measures 1-63)

From measures 1 to 6, the music begins in a “G mode” that is neither G major nor G minor, while the note G is persistently emphasized by the left-hand accompaniment. The melody of the first theme, played by the right hand, suggests a pentatonic scale (G, A, C, D, F), imbuing it with a somewhat folk-like atmosphere while creating an archaic sound. At the second beat of measure 26, an abrupt dynamic change from p to f occurs, introducing a short interpolated section (interpolation ‘a’). The contrast between the improvisatory musical motion in sixteenth notes and octaves hints at a musical world distinct from the first theme. At measure 36, the tension reaches its peak in terms of range, and interpolation ‘a’ rapidly concludes with the right hand’s descending sixteenth notes.

The second theme, beginning at measure 41, is based on “F mode” (with a tendency towards F minor). From measure 56, the same theme is played in octave figures, and the left hand changes to a new accompaniment pattern, transitioning directly into the development section.

Development (Measures 63-94)

Signaled by both hands striking octaves on F at f on the first note of measure 63, the second theme is abruptly cut off, and the development section begins with the dynamics reduced to p. The development section uses interpolation ‘a’ from the exposition as its material; the right hand’s sixteenth-note figures and the left hand’s octave figures give the music momentum and drive. Particularly from the second beat of measure 73, the left hand rhythmically strikes octaves in eighth notes, while the right hand repeats the same figure in sixteenth notes, causing the music to progress as if hurried. From the second beat of measure 89, both hands strum a continuous sixteenth-note figure, and the dynamics rise to ff, with the music rushing into the recapitulation with the same momentum.

Recapitulation (Measures 95-156)

The first theme returns with a completely altered character compared to its exposition, and the recapitulation begins, emphasizing the octave sound with a thick texture. At the beginning of the development section, an ascending three-note accompaniment figure with the first note as an octave appears, and this accompaniment pattern is carried over into the recapitulation. The persistent repetition of this accompaniment pattern makes the music progress as if recalling the powerful yet precise movements of heavy machinery in a factory.

From measure 117, the second theme returns, this time in C minor, but from measure 130, it is recapitulated in G minor. The second theme gradually diminishes, repeating the same motif with variations, and from measure 145, the first theme is recapitulated an octave lower than in the exposition. Finally, the music concludes quietly, presenting the tonic chord of G major.