Tonality
1st movement
Orchestral exposition stays in A major the expected modulation to E doesn't happen because the orchestral exposition in A is still to come.
Piano exposition - 1st subject (theme a and b) in A, 2nd subject (theme c and d) in E as expected. Note the D#s
New theme before development in E.
Development - motives from the new theme in E, Em, C, Am, F, E and A.
Recapitulation including theme E back in A.
This is the first the first page of the score. Note the transposing instruments clarinet and horn, the bass clef instruments Bassoon, cello and double bass and the alto clef (3rd line is middle C) instrument the viola.
Also note the tempo, Allegro (lively), time signature 4/4 and the key signature, 3 sharps.
1st movement
Orchestral exposition stays in A major the expected modulation to E doesn't happen because the orchestral exposition in A is still to come.
Piano exposition - 1st subject (theme a and b) in A, 2nd subject (theme c and d) in E as expected. Note the D#s
New theme before development in E.
Development - motives from the new theme in E, Em, C, Am, F, E and A.
Recapitulation including theme E back in A.
This is the first the first page of the score. Note the transposing instruments clarinet and horn, the bass clef instruments Bassoon, cello and double bass and the alto clef (3rd line is middle C) instrument the viola.
Also note the tempo, Allegro (lively), time signature 4/4 and the key signature, 3 sharps.
This is a good example of how solo piano can still be polyphonic (or contrapuntal i.e. uses counterpoint)
Much of this set work is homophonic, based on a melody with accompaniment, but there are plenty examples of polyphony also. Note the recurring D# sin this excerpt. That's because it's in the dominant, E major.
Much of this set work is homophonic, based on a melody with accompaniment, but there are plenty examples of polyphony also. Note the recurring D# sin this excerpt. That's because it's in the dominant, E major.
Below is a really good example of what you expect to find in a typical development section. a short motif from theme E is played by clarinet with accompaniment by the rest of the woodwind (except flute) in the key of Em.
This is answered by (antiphon) piano and strings.
Then there is a sequence of the same short motif now in C major etc. Remember in the 1st movement, only theme E is used in the development.
This is answered by (antiphon) piano and strings.
Then there is a sequence of the same short motif now in C major etc. Remember in the 1st movement, only theme E is used in the development.
The 2nd movement is in the relative minor F#m. The first chord played on the piano is F#m. also notice the several E#s throughout.
In ternary form, the B section is in A major while the 2nd A section goes back to F#m.
Examine the texture at the bottom of the page. Violin and clarinet play theme B melody in octaves. The bassoon imitates it a bar later. Also notice the broken chords on the 2nd violins.
Once again, don't overlook the key signature, time signature and tempo markings at the start of the movement.
In ternary form, the B section is in A major while the 2nd A section goes back to F#m.
Examine the texture at the bottom of the page. Violin and clarinet play theme B melody in octaves. The bassoon imitates it a bar later. Also notice the broken chords on the 2nd violins.
Once again, don't overlook the key signature, time signature and tempo markings at the start of the movement.
One of the clearest examples of Alberti Bass occurs at the start of the 3rd movement.
Back in the tonic key of A major again, there are examples of themes in E (with D#s), D (with G naturals), as well as a theme in the dominant minor, Em
Other observations from the score below include ornamentation with grace notes, turns and trills as well as a great example of a tonic pedal on the French horn in the key of E. (What looks like a G on the horn is actually an E as it's a transposing instrument.)
Back in the tonic key of A major again, there are examples of themes in E (with D#s), D (with G naturals), as well as a theme in the dominant minor, Em
Other observations from the score below include ornamentation with grace notes, turns and trills as well as a great example of a tonic pedal on the French horn in the key of E. (What looks like a G on the horn is actually an E as it's a transposing instrument.)