MUSICAL COMPOSITION

FORM 87cross-rhythm, so as to gradually form the openingchord of the first subject.The development may be divided into three sections :1. Bars 89-108. A variant of portions of the firsttheme and first episode.2. 108-122. Variants of the first episode andsecond episode.3. 123-136. Variants of the second episode.B&J'II.Tm: RECAPITULATION137-153. = 1-17. Note for note.153-161. = 17-25. Bars 22,23, and 24 only, varied in ornament.161-169. A shortened version of 25-45, twelve bars beingomitted. He continues the arpeggio of bar 31 anadditional odtave upwards, so as to land on B flat(the dominant) and bring the second subject intothe tonic. He omits the minor version of the firstsubject 33-43, as it is no longer necessary to insiston the tonality (see above), and recapitulation generallygains by shortening. On the other hand, he sometimesindividualises a recapitulation by lengtheningand intensifying, very rarely leaving it exactly asit was in the first part..._ '.< .• .. ;170-190. = 4:6-64, lengthened by two bars, which are added tothe connecting-link scale (compare bars 53-56 withbars 177-182), thereby increasing the pianisticbrilliancy.190-213. = 64-82, lengthened by five bars, four of which areadded to the passage of cross-rhythm shakes (comparebars 68-71 with bars 194-201), and one added afterthe ascending arpeggios (compare 76, 77 with 206-208), the arpeggios themselves being reinforced.