First: The Exposition (Measures 1-48)

First Subject (Measures 1-8):

• Overview:
  The piece starts with a rising arpeggio figure, called a Mannheim rocket[1], in F minor (thus establishing the tonality of the sonata) followed by a tail motif. These bars are characterized by phrases dividing progressively into smaller units.
  • Measures 1-2:
    A rising arpeggio in F minor with a tail motif. The left hand strikes syncopated F minor chords (F - Ab - C).
  • Measures 3-4:
    The same phrase (rocket + tail) is repeated in the dominant on top of C7 chords in first inversion (the dominant seventh of F minor).
  • Measure 5:
    The tail motif (alone this time without the rocket) returns in F minor.
  • Measure 6:
    The tail motif is again repeated on top of dominant seventh harmony (in second inversion). This makes the chords played in this bar behave as a "passing 6/4".
  • Measure 7:
    A rolled F minor arpeggio
  • Measure 8:
    A fermata ends the previous measures with a half-cadence on the V (C major).

• Notes:

  [1] "Mannheim Rocket" -- This and other musical innovations (e.g. the "Mannheim sigh", the "Mannheim crescendo", etc.) originated in the musical court at Mannheim, in Austria, during the mid-late 1700's.

Connecting Episode (Measures 8-20):

Then we arrive at a connecting episode that derives its thematic material from the 'Mannheim Rocket' figure of the first subject, this time in C minor. The connecting episode takes a modulatory nature; it modulates to reach the relative major (here A sharp Major) to ultimately iterate the Second Subject in the relative major.

Second Subject in A sharp major (Measures 20-41):

The second subject starts at the fourth beat of measure 20. It starts with a phrase that can be described as consisting of: a head motif of five descending quarter notes (crotchets) over a bass tremolo; and a tail motif of a rising three-notes - ending on a staccato.

This previous phrase is repeated again, then the head motif is iterated yet again before the left hand switches to an Alberti bass that accompanies rising gasping three-note groups that eventually lead to eighth notes runs in the right hand.

Coda (Measures 41-48):

A coda confirms the cadence ending the exposition in A sharp major (the relative major to F minor). Double bar and repeat.

Second: The Development

Third: The Recapitulation