Triplet-sixteenths dominate the third variation. As usual, the final variation is recapitulatory, but here Haydn extends the variation with further development and a cadenza-like passage. The trio of the minuet features solo sections for two violins against a pizzicato bass.
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The Roman sources on Germanic chants are not based on ethnographical topica, but originate from actual experiences. The primary attributes of Germanic singing can be derived from the accounts on the Germanic tribes by Publius Cornelius Tacitus. As scant and recapitulatory Tacitus' observations might be, it is possible to deduce two discrete music genres: the war chant (barditus/barritus/baritus), and the heroic songs.
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When a creature is advanced in size, it may develop at a smaller rate. Alternatively, it may maintain its original size or, if delayed, it may result in a larger sized creature. That is insufficient to understand heterochronic mechanism. Size must be combined with shape, so a creature may retain paedomorphic features if advanced in shape or present recapitulatory appearance when retarded in shape.
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Liszt transforms the "marcato" motif into a lyrical melody later. The slow movement, an Andante sostenuto, is the centerpiece of the Sonata. This fully-fledged movement, in compound ternary form, features, in quick succession, a number of themes heard earlier in the Sonata in a tour de force of thematic economy. The final recapitulatory section is launched by a driving fugato of contrapuntal skill which leads to the compressed return of the opening material.
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The first theme and transition from Opus 47 follow, but then the second theme is deleted entirely. Instead of the second theme, the transition moves into a dark and moody section in E-flat major and in 6/8 meter, resembling some kind of somber procession. After a somewhat abrupt end to this section, the original development from Opus 47 proceeds unaltered. Because the second theme from Opus 47 has been removed, there is no recapitulatory gesture.
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Variations 25–33 form another progressive series, rather than a collection of contrasts. The familiarity of 25 (especially after its predecessors) and the ensuing return to a progressive pattern give this section a recapitulatory quality. First the theme is subdivided and abstracted to the point of disintegration with 25–28. Variations 29–31 then descend into the minor, culminating in the baroque-romantic largo 31, the emotional climax of the work and the groundwork for the sense of transcendence to come.
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He shows how "the four defining 'recapitulatory' features, however – theme, tempo, Scherzo character, and 'tonic colour' – are set into place not simultaneously but one after another." The return of the "theme" happens at measure 106 with the A-group materials heard in the brass with woodwind sixteenth-notes above. What he means by "tempo" and "Scherzo character" is the accelerando into the Allegro moderato section. Finally, he shows how "tonic colour" returns in measure 158 (letter B), putting into place all elements of the recapitulation.
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One fundamental choice that composers had in constructing a sonata form was how many rotations to employ. Sonata Theory recognizes five different Types of sonatas based on their rotational distribution. (The selection of sonata type is independent of the piece's internal rotational layout: a sonata of any type might have either a Continuous or a Two-Part exposition, for example.) The Type 1 Sonata is a bi- rotational structure: it includes only an expositional rotation, followed immediately (or perhaps after a short link) by a recapitulatory rotation. This type, frequently employed in slow movements, therefore lacks a traditional development section.
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The movement's unusual structure has invited a variety of analytical interpretations. Composer Roger Sessions describes the form as more of a triple exposition than a normal sonata form, and the second rotation could be interpreted as a simulation of the expositional repeat seen in many classical sonata form expositions, with the added interest of transposition. Conversely, other analysts have interpreted the second rotation as the onset of the recapitulation or as a "double recapitulation effect" rather than as an expositional repeat, with Hepokoski and Darcy describing it as a "tonally 'wrong' recapitulatory rotation followed by a notably varied, 'right' one in the tonic".Hepokoski, James and Warren Darcy.
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Thus, the arrival of S in the middle of a Type 2 second rotation functions as a "tonal resolution" but not as the beginning of a recapitulation, because it does not initiate a new rotation. The Type 3 Sonata is the traditional textbook design, including full exposition, development, and recapitulation, each of which has its own independent rotational design (although developments are often only half- rotational). The Type 4 Sonata describes structures that others have referred to as sonata rondos. The key aspects of this sonata type include a retransition (RT) that concludes every rotation (following C space), a second (developmental) rotation that begins with P in the tonic, and an obligatory P-based coda following the recapitulatory rotation.
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The "Fantasy" elements take over, however, at the end of the recapitulation: rather than settling comfortably into B major, the piece launches into a coda that is at turns free and improvisational, sequential (almost a second development), and recapitulatory. (See for comparison the fourth movement of Scriabin's sonata in F# minor, which seems to be on ambiguous formal borderline between sonata-allegro and sonata-rondo.) Ultimately the coda ends triumphantly in B major, with a strong evocation of Wagner's "Isoldes Liebestod." At any rate the texture at the close is very similar to that of Liszt's transcription of the Wagner; the key is the same; and in each case the major tonic is approached by the supertonic half diminished seventh chord. The Fantasy contains some of Scriabin's most difficult writing.
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