Recapitulation. Two wholly independent coda-sections are added, an Adagio (derived from the third movement of the sonata) and a Presto, based upon the Principal theme.
The sonata-allegro with new Middle theme is illustrated in Beethoven, pianoforte sonata, op. 14, No. 1, first movement; the middle Division contains a preliminary allusion to the Principal theme, but is otherwise an entirely new thematic member, very suggestive of the "Second Subordinate theme" of the Rondos (17-measures long,—up to the Re-transition, in which, again, the Principal theme is utilized).
LESSON 18.—Analyze the following examples of Irregular form. They are classified, as in the text:—
1. Beethoven, sonata, op. 81, first movement.
Beethoven, sonata, op. 49, No. 2, first movement.
Beethoven, sonata, op. 2, No. 3, first movement.
Beethoven, sonata, op. 49, No. 1, last movement (not "Rondo," as marked, but sonatine-form, augmented).
Mozart, sonata No. 1, first movement.
Mozart, sonata No. 17, last movement (Rondo, with three Subordinate themes).
Mendelssohn, Capriccio brillant, in B minor. Schubert, pianoforte sonata No. 8 (Peters ed.). Adagio.