Sonata in B-flat major

Allegretto

The Sol-Fa-Mi is the three-stage variety mentioned in the introduction to Chapter 18 of Music in the Galant Style (Gjerdingen 2007, 253) rather than the four-stage variety that is the focus of that chapter.

My favorite part of this movement is the Fenaroli / Converging Half Cadence in the second half:

This is the Durante countermelody variant of the Fenaroli in which the countermelody is reduced to its bare essentials, ➍–➌–➐–➊, and set in the bass. The first Converging Half Cadence evades modulating to the dominant; the second completes modulating and sets up a Cadenza.

Tempo di Minuetto

This movement contains a few noteworth schemata. The Do-Re-Mi lacks the 1-7-1 bass but occurs in a round. A Quiescenza begins the second half, and is followed by an Ascending Hexachord in the dominant containing an embedded Fenaroli in the tonic.

My favorite part of this movement is the Fenaroli / Comma:

The Fenaroli is the riposte to the opening theme. It lacks a pedal point on ➄ but the chords in the first beat of each measure create a similar effect. The embedded Comma reinforces a pre-cadential effect; in the first half a modulating Converging Half Cadence follows and in the second half an Authentic Cadence follows.