Sonata Form

The structure is as follows:

• Exposition [Presentation of the First Theme (measures 1-12) → Transition (measures 13-26) → Presentation of the Second Theme (measures 27-34) → Transition (measures 35-42) → Closing Section (measures 43-53) → Coda (measures 54-56)]
• Development [Development Section of the Exposition's Transition Motive (measures 57-66) → Development Section of the Second Theme (measures 67-77) → Modulatory Passage (measures 78-82)]
• Recapitulation [Recapitulation of the First Theme (measures 83-94) → Transition (measures 95-108) → Second Theme (measures 109-122) → Transition (measures 123-130) → Closing Section (measures 131-141) → Coda (measures 142-144)]

The main key is F major. The first theme is composed of three motives. The first, found in measures 1-2, expresses the sound of the tonic chord (I) with three quarter notes and a dotted quarter note. This motive of three quarter notes is later shared with the second theme. Next, in measures 3-6, the left-hand accompaniment features eighth-note octaves and chords, while the upper voice presents a smooth melodic line centered on descending stepwise motion. Finally, in measures 7-12, a motive suddenly leaps upward, displaying a lively character with sixteenth notes. This last motive is repeated in three-measure units.

Observing the overall movement of the first theme, notes of progressively shorter durations become dominant: quarter notes → eighth notes → sixteenth notes. Concurrently, the music exhibits a more intricate and lively character.

In the transition section, the upper voice in the right hand develops through arpeggiated lines of eighth-note triplets. Meanwhile, the left hand plays the root of the chord tones in octaves. These root octaves provide harmonic stability and have the effect of tightening and consolidating the somewhat expansive arpeggiated lines of eighth-note triplets in the upper voice. From measure 18, a chromatically descending sequence leads to partial modulations from the dominant key of C major: C major → B-flat major → A major → G major, before returning to the main key of F major, concluding with a half cadence at measure 26.

The second theme modulates to the dominant key of C major. As mentioned earlier, the three quarter notes motive from the beginning of the first theme here forms a powerful arpeggiated line in octaves in the bass register. In contrast to this powerful opening, a light, repetitive sixteenth-note figure appears. This sixteenth-note figure can also be seen as derived and developed from the sixteenth-note motive starting in measure 7 of the first theme.

From measure 35, the transition section begins. Similar to the transition after the first theme, eighth-note triplets are used here, but with richer nuance. It progresses as a sequence where two movements—a staccato descending figure and a slurred ascending figure—form a single set.

From measure 43, the closing section begins. The ascending motion through the harmonic progression of I → V7 in second inversion → I in first inversion within the closing theme is akin to the anabasis figure in the Baroque era, providing a sense of exhilaration.

Compared to the exposition and recapitulation, the development section is somewhat shorter. It is composed of two parts: the first part develops the eighth-note triplet motive from the exposition's transition section. The second part develops the second theme motive through a sequence. From these movements, the music eventually converges to D minor, the relative minor of the main key, leading to a half cadence in F major from measure 82.

From measure 83, the recapitulation section begins.

From measure 95, the transition section begins. From measure 101, it descends via a sequence, similar to the exposition. However, while eighth-note triplets flow in the inner voice, the upper voice plays the leading tone → tonic as a single note, and the lower voice plays the seventh of the dominant chord → the third of the tonic chord (I) in octaves, creating a two-voice interplay.

From measure 109, the second theme is recapitulated. In the exposition, the music proceeded directly to the transition section after the presentation of the second theme. However, in the recapitulation, after the second theme is recapitulated, the theme motive is developed through a sequence before leading to the transition section.

Similar to the exposition, the transition section leads to an overall ascending progression, culminating in an exhilarating conclusion.