First Movement

G major, 2/4 time, Sonata form

(Exposition)

The main theme (mm. 1-11), which begins with a highly distinctive motif featuring a single 16th-note anacrusis, consists of this rhythmic motif and a descending 16th-note figure including chromatic alterations. This theme is immediately confirmed in F major, a major second below (m. 12-), and after an improvisatory development of the descending figure, it is confirmed once more in the tonic key (m. 46-).

The subordinate theme (mm. 66-73), which appears after the transition (mm. 55-65), is in B major, a major third above the tonic key (G major). It is confirmed in its parallel minor, B minor (m. 74-), and the coda (m. 98-) concludes directly in B minor.

(Development + Recapitulation)

In the development section (mm. 114[115]-), the rhythmic motif is first expanded across a wide range and repeated, after which the descending figure is transformed into a passage through improvisatory development. As the dominant chord of the tonic key is arpeggiated, the rhythmic motif is extended by two dotted notes (the dominant) and a dominant chord articulated in quarter notes, preparing for the recapitulation while reducing the dynamics to pp (pianissimo).

The recapitulation (m. 194-) begins resolutely with ff (fortissimo). The confirmation section is omitted, and it immediately transitions, but instead of taking the necessary measure of passing through the subdominant key to return the subordinate theme in the tonic, the subordinate theme first returns in E major/E minor (m. 218-). Then, by altering the latter half of the confirmation section (from the exposition) in E minor (m. 232-), the subordinate theme finally appears in the tonic key.

In this sonata, the coda is also expanded, and after the return of the main theme, a passage of the descending figure, and arpeggios of the dominant chord, the movement concludes with the development of the rhythmic motif.