Sonata in G major

Allegro

My favorite part of this movement occurs at the end of the A section of the binary form. The arpeggiated diminished seventh (vi^o7) feels unstable; the arpeggiated dominant seventh (V⁷) prepares a cadence to the tonic (I). The legato Prinners that follow feel like relief but contain a surprise. The first Prinner is complete: it is an instance of the variant with a canon on ➏–➎–➍–➌ in the melody and bass, and features a pedal point on ➀. The second Prinner, however, is evaded: it begins by repeating ➍–➌ in the melody against ➅–➄ in the bass, but the bass moves unexpectedly to ♯➃ and dashes any relief the listener may feel.

Allegretto

The first half of this movement begins with a Romanesca–Prinner. Only in the second and third variations does the Prinner have a ➏–➎–➍–➌ melody; in the theme and fourth variation the Prinner has ➊ instead of ➎, and in the first variation the Prinner contains just the first two scale degrees.

The Second Theme resembles a Meyer. However, a key characteristic of the Meyer is tonal stability (Gjerdingen 2007, 112) and this passage modulates: the first dyad contains ➀–➁ in the dominant and the second dyad contains ➆–➀ in the tonic.