<P> The first movement, in sonata form, opens energetically with contrasting loud and soft phrases . The theme is angular in shape, both in its rising arpeggios and its dotted rhythm . The exposition lasts from mm . 1--105 . The primary theme, a modified sentence structure, lasts from mm . 1--30 . The transition, which is separately thematized and provides a quiet contrast, is in two parts and lasts from mm . 31--55 . The secondary theme, which is accompanied by an Alberti bass, lasts from mm . 56--75 and ends with the essential exposition closure . The closing section, in two parts, quotes both secondary and primary themes . The development (after Darcy / Hepokoski's Sonata Theory) is half - rotational and divides into pre-core and core sections (after William Caplin); it lasts from mm . 106--168 . The retransition, mm . 158--167, leads into the recapitulation . The recapitulation is at mm . 168--284, 11 measures longer than the exposition . The exposition's transition is altered harmonically in the recapitulation . Initially, the secondary theme is stated in F major (predominant), a "false start", before being stated in tonic C minor . The secondary theme is also expanded from the exposition . The essential structural closure is in m . 253 . </P> <P> The second movement is a lyrical Adagio with many embellishments . It is in A--B--A--B or "sonatina" form (there is no development section, only a single bar of a rolled V chord leading back to the tonic key); an apparent third appearance of the main theme turns into a coda, which slowly fades to a final perfect cadence . </P> <P> The third movement is in sonata form, making heavy use of a figure of five eighth notes . The short development section contains an unmistakable foreshadow of the theme from Beethoven's Fifth Symphony . The coda slows the tempo down, leading to a final outburst which fades to a quiet but agitated Picardy third . </P>

Sonata in c minor op. 10 no. 1