Sonata in D major
Allegro di molto
The Romanesca in the first half is a leaping variant and truncated in order to modulate; see the Romanesca schema description for a comparison to KV 107 I. Interestingly, where the A section uses a Quiescenza the A’ section instead uses an arpeggiated dominant seventh (V7) to prepare a cadence to the tonic (I).
| Section | Schema | Key |
|---|---|---|
| 1st Half | Triadic Descent / Fenaroli | D |
| Romanesca | D → A | |
| Converging Half Cadence | A → E | |
| Quiescenza | E | |
| Passo Indietro / Converging Half Cadence | A → E | |
| Falling Thirds | E → A | |
| Authentic Cadence | A | |
Andante di molto
The Romanesca opening gesture is in the galant style. The second theme is paired alternately with a Fauxbourdon and a Prinner.
| Section | Schema | Key |
|---|---|---|
| 1st Half | Romanesca | G |
| Comma / Half Cadence | G → D | |
| Second Theme / Fauxbourdon / Prinner | D | |
| Authentic Cadence / Cudworth Cadence | ||
| 2nd Half | Romanesca | D |
| Second Theme / Fauxbourdon / Prinner | G | |
| Authentic Cadence / Cudworth Cadence | ||
Minuetto
The major section uses a Do-Re-Mi as an opening gesture, and the minor section uses an Aprile as a second theme. The first half of the major section ends with a half cadence in the style typical of the late eighteenth century: it leaps directly from ➀ to ➄ instead of relying on the standard bass, and it includes a trill on ➌.
| Section | Schema | Key |
|---|---|---|
| Major, 1st Half | Do-Re-Mi | D major |
| Passo Indietro / Half Cadence | ||
| Major, 2nd Half | Falling Thirds / Converging Half Cadence | D major → A major |
| Cudworth Cadence | A major | |
| Prinner | D major | |
| Do-Re-Mi | ||
| Passo Indietro / Cudworth Cadence | ||
| Minor, 1st Half | Second Theme | D minor |
| Comma / Authentic Cadence | F major | |
| Minor, 2nd Half | Aprile | F major |
| Falling Thirds | F major → D minor | |
| Second Theme | D minor | |
| Comma / Cudworth Cadence | D major | |