The first thing that strikes us about the general character of this movement is its admirable clearness, in which it is representative of all Haydn's work. In spite of its being so much larger and more complex than the sonata of Philip Emanuel Bach, its structure is so obvious that a child could hardly go astray in following it. This is in large measure due to the pains the composer takes to emphasize each key and each change of key by means of scale-passages and chords. (See, for example, measures 59-67, emphasizing the key of D-major, and the entire conclusion-portions of both the exposition and the recapitulation (67-108) and (185-259), one insisting on D-major, the other on G-major.) Such passages as these have been much criticised for their conventionality and lack of melodic interest, but when we realize how they punctuate the movement, so to speak, and what a perfect clearness they give it, we realize how important they were to the early stage of development of the sonata-form, when its principles had not become as universally familiar as they are now. They are an immense advance over the vague rhapsodizings of Philip Emanuel Bach in parallel places.

The key-relationships of the movement follow the usual practice. In the exposition we find duality of key: G-major and D-major. In the development there is ample plurality.

In the recapitulation the home key, G-major, dominates throughout.

Haydn's second theme, though more definite than Philip Emanuel Bach's, is still somewhat lacking in individuality. It is hardly more than a string of chords and scales having more tonal interest than melodic life. It is certainly far from being a lyrical melody strikingly contrasted with the more energetic first theme. The conclusion theme, full of Haydnish amiability, grace, and good cheer, is much more definitely melodious.

Another symptom of the crudity inseparable from early stages of artistic evolution is the shortness and rather mediocre interest of the development section. The first theme is briefly but monotonously treated in measures 109-126. Then comes (127-132) a little playing, in the bass, with the small figure which first appeared in (44-45):

Germ (measures 44-45.)

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