the G flat in Bar 69, E natural in Bar 97, etc.).īars 117-132: Closing theme – tonic and dominant seventh arpeggios in D flat major. Suspensions and appoggiaturas are used throughout this passage for added expressiveness (e.g. A diminished seventh chord (F – A flat – C flat – D) is used in Bar 87, 103, and 109-112. There is a dominant pedal in Bars 107-116, leading to a perfect cadence in Bars 116-117. Bars 25-48: Theme 1 restated. Begins in B flat minor as before (Bars 25-36), but then modulates to F minor (dominant) instead of D flat major in Bars 37-48.īars 49-64: Theme 2, all in D flat major, with some use of the flattened sixth degree (B double flat) as part of a dominant minor ninth chord, or part of a chromatic scale.īars 65-117: Theme 3 (con anima). Begins in G flat major, then modulates to A flat major (Bars 73-80, making a sequence with Bars 65-72) and D flat major.
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