I. Allegro-Gary Graffman

Allegro. The opening is dramatic, with a fully voiced forte C minor chord. The voice-leading of this passage outlines a chromatic ascent to A-flat – this will be the first instance of a remarkable degree of chromaticism in the sonata as a whole. The most salient feature of the first theme is the sudden modulatory digression to A-flat major, established by a rushing downward scale initiated by the final achievement of this key in the ascending voice of the minor theme. The exposition shifts from the tonic to the relative major (E-flat major), touching midway upon its parallel minor (E-flat minor), all in accordance with Classical practice. This second theme, a hymn-like E-flat major melody in four-part harmony, greatly contrasts with the first, though its melodic contour is prefigured in the sudden A-flat major departure. Both themes progress somewhat in the style of variations, and are structured with irregular phrase lengths. The development section is highly chromatic, and is texturally and melodically distinct from the exposition. The recapitulation is once again traditional, staying in the tonic and stressing subdominant tonalities (D-flat, the lowered second degree – in the first theme). The coda returns to the material of the development section, but with stable tonality, dying out in a dark series of cadences in low register.