Beethoven Op 59,.

N1 m1 w analysis

Exposition Phase:

Theme 1- Two motives that elide in first 19 measures

- mm.4-8 of the cello is put into the first violin
- 4 mm. phrase and an extended 7 mm. phrase
- double augmentation of the 1st mm. starting in mm. 16
A1 - (ms. 1-19 Theme A part 1) Main theme, 2nd inversion tonic
Br - (mm. 20-29 Bridge to sub sect 2)
A2 - (ms. 30-37, Theme A part 2) Decisive tonic arrives (F), derived from main
theme, development of 2nd motive
T1 - (ms. 38-47, Transition part 1) Legato figures signal change
- inverion of theme 1 in mm. 38-39, introduces triplets starting in mm. 42
T2 - (ms. 48-59, Transition part 2) Going to V of V, modulate to G
Theme 2
B1 - (ms. 60-70, Theme B part 1) Sub theme in dominant (C)
B2 - (ms. 71-84, Theme B part 2) Triplets
B3 - (ms. 85-90, Theme B part 3) Attacking half-note block chords
C - (ms. 91-102, Theme C) Contains elements of main theme and sub theme, closing

Development Phase:

D -
(ms. 103-111) Variation of main theme
E -
(ms. 112-124) Modulate to Bb
F -
(ms. 125-143) Sub sect 2
G -
(ms. 144-151) Modulating half note chords, sub sect 3
H -
(ms. 152-184) Motivic variations, sub sect 4
I -
(mm. 169-183) sub sect 5
J -
(ms. 184-221) Fugato in Ebm - Fm, sub sect 6
- subject is in the 2nd violin
- answer in the viola in mm. 190
- this is real (meaning completely in the key) up until the Ab
- entrance of the subject in the 1st violin in mm. 195
- cello comes in in stretto (too early) with the subject
K - (ms. 219-241) Transition back to recap with triplets, sub sect 7
L - (mm. 242-253) sub sect. 8

Recapitulation Phase:

K - (A2) (ms. 254-279, Theme A part 2) Recap starts with first derivation, not A1.
T1 - (ms. 279-294, Transition part 1)
T2 - (ms. 295-306, Transition part 2)
B1 - (ms. 307-331, Theme B part 1) denser texture than expo
B3 - (ms. 332-337, Theme B part 3)
C - (ms. 338-348, Theme C) Forceful restatement of main theme in variation

Coda: (ms. 349-400) Pitch register explodes to 5 octaves