9 in D major is crucial to understanding and identifying the piece as sonata-rondo form and not simply rondo form; rather than being contained by a single key and theme, it is heavily modulatory and does not seem to have a general theme. Rather, it is absolutely the development section of the piece as a whole. While C beings in B minor, the vi of D major, it modulates to E minor, D major, G major, and A major, all within 53 measures (mm. 119-172). I might add that if someone only looked at the beginning of C, the piece could be mistaken as rondo form, as it is traditional for C to take place in the minor submediant. Following C there is a retransition into A, which is simply a cadenza to lead from the strong half cadence fermata presented at the end of C to the recapitulation of
9 in D major is crucial to understanding and identifying the piece as sonata-rondo form and not simply rondo form; rather than being contained by a single key and theme, it is heavily modulatory and does not seem to have a general theme. Rather, it is absolutely the development section of the piece as a whole. While C beings in B minor, the vi of D major, it modulates to E minor, D major, G major, and A major, all within 53 measures (mm. 119-172). I might add that if someone only looked at the beginning of C, the piece could be mistaken as rondo form, as it is traditional for C to take place in the minor submediant. Following C there is a retransition into A, which is simply a cadenza to lead from the strong half cadence fermata presented at the end of C to the recapitulation of