Then there is a really cool part where the alto line has sixteenth notes and the soprano and bass parts make the accented notes from the transition of the exposition into a melody. This reaches an IAC in G major in bar 62 where the second theme is played again in this new modulated key with the first four bars being played in the upper part and the second four bars being played in the bass part. The exposision repeats (duh!)The development starts out with material from the first theme in the major key of A flat and last six measure without a cadence when material from the second theme begins to enter at bar 55, where we get a long pedal tone D with the second theme on top, which I think means we have moved to G major following the same dominant tonic thing of the second theme of the exposition. This theme is marked by dissonant grace notes and ends with a really poignant IAC with a V7 with a pedal tonic that resolves to tonic chord. The second half of the measure begins the closing theme. Then there is an extremely long transition section with lots of eighth note runs that finally gets us a true feeling of A flat reaching an IAC in measure 41. This is marked by a falling quarter note figures with an eighth note figure in the last couple of measures that lead to the end of the phrase with a PAC in bar 28. After six bars the material goes away from the theme and becomes transitory as it modulates and eventually reaches an IAC in A flat major (I think, the second theme has a pedal E flat that sounds dominant but there is no pure emphasis of the tonic for a very long time) in bar 20 where the second theme happens at the end of the bar. But this half cadence becomes the new key and the first theme is already being developed by being played in the new key and in the bass, which is quite strange. The exposition begins with the first theme, which is marked with the sixteenth note triplet figure and lasts for one eight measure phrase that ends with a half cadence.
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January 2023
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