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The second subject group can start in a particular key and then modulate to that key's parallel major or minor. In the first movement of Brahms' Symphony No. 1 (in C minor), the second subject group begins in the relative E ♭ major and goes to the parallel mediant E ♭ minor.
The single fragmentary movement is in C-sharp minor and is in sonata form, breaking off at the end of the exposition. Schubert uses a three-key exposition, with a first subject group in the tonic and then a second subject group, first in E major (the relative major) and then G-sharp major (the dominant major). Unusually, the second subject ...
The second movement is in ternary form (or sonata form without development [4]).It opens with a highly ornamented lyrical theme in 3 4 time in F major (mm. 1–16). This is followed by a more agitated, 5-measure transitional passage in D minor (mm. 17–22) accompanied by quiet parallel thirds, followed by a passage full of thirty-second notes in C major (mm. 23–31). [4]
Karol Szymanowski's Piano Sonata No. 2 in A major, Op. 21, M25, is a piano sonata in two movements. It was completed in 1911 and published in 1912 by Universal Edition Vienna. The sonata is still a relatively early work of Szymanowski, but represents the apogee of his Late Romantic period. It was premiered by Arthur Rubinstein on 7 May 1911. [1 ...
[2] The development section (b.104ff) is based on various incarnations of the first subject, the second subject, and the dotted rhythm that first appeared at b.27. The key oscillates between the submediant (F major, the key of the Andante), and the subdominant (D minor, which has previously appeared at b.34ff). [3]
Examples in the works of later composers include Polyphonie X and Structures I by Pierre Boulez, Sonata for Two Pianos by Karel Goeyvaerts, and Punkte by Karlheinz Stockhausen. [11] [clarification needed] Opening of Bach's Fugue No. 2 in C minor from The Well-Tempered Clavier, Book I, BWV 847, showing the subject, answer, and countersubject [12]
A major. In sonata form without development. Unusually, the second subject group is in the subdominant key of D major. [1] (III. Scherzo: Allegro vivace - Trio, D. 570) D major (IV. Allegro, D. 570) F-sharp minor. Fragment (breaks off at the end of the development)
The first movement is composed in an atypical sonata form. [1] [2] A plaintive, somewhat ominous pianissimo unison octave phrase ornamented with a mordent opens the work, with a contrasting chordal consequent. The rhythmically similar first and second subjects of the exposition are not clearly separated structurally, a feature continued later ...