The Recapitulation

This corresponds, theoretically, to the da capo

in the Song with Trio, or to the variated recurrence of the Principal

theme in the First Rondo-form. But it is more than either of these.

The term Recapitulation is more comprehensive than recurrence (in

the sense in which we have thus far employed the latter word), as it

always refers to the reproduction of a collection of themes, and,

chiefly on this account, is subjec
to certain specific conditions of

technical treatment.

Recapitulation, in the larger designs of composition, invariably

involves transposition, or change of key,--the transposition of the

First Subordinate theme, from the key chosen for its first announcement

(in the Exposition) back to the principal key of the piece. This,

as may be inferred, greatly affects the original transition and

re-transition; and it may necessitate changes within the theme itself,

in consequence of the change of register.

Further, the last recurrence of the Principal theme being no less than

its fourth announcement, is rarely complete; as a rule, a brief

intimation (the first motive or phrase) is deemed sufficient, and this

is then dissolved into the coda; or the Principal theme, as such, is

omitted, or affiliated with the coda, or one of its sections.

For an illustration of the Third Rondo-form, the student is referred to

the last movement of Beethoven's pianoforte sonata, op. 2, No. 2, the

diagram of which is as follows:--


Exposition. Division Recapitulation.

------------------------ ---------- ----------------------------------

Pr.Th. 1stSub.Th. Pr.Th. 2d Sub.Th. Pr.Th. 1st Sub.Th. Pr.Th. and Coda

------------------------ ---------- ----------------------------------

A maj. E maj. A maj. A minor A maj. A maj. A maj.

For its detailed analysis, number the measures as usual (there are 187,

the second ending not being counted), and define each factor of the

form by reference to the given indications,--the figures in parenthesis

again denoting the measures:--

Principal Theme, Part I (1-8), period-form. Part II (9-12), phrase.

Part III (13-16), phrase.

Transition, period-form (17-26), leading into the new key.

First Sub. Theme, period, Antecedent (27-32), Consequent (33-39).

Re-transition (40).

Principal Theme, as before, (41-56). This ends the EXPOSITION.

Second Sub. Theme, Part I (57-66), period, literal repetition. Part

II (67-74) period-form. Part III (75-79) phrase.

Parts II and III repeated (80-92); the process of re-transition

begins one measure earlier (91), and is pursued to measure 99.

The RECAPITULATION begins in the next measure with the

Principal Theme, as before, slightly modified (100-115).

Transition, as before, slightly abbreviated (116-123).

First Subordinate Theme, as before, but transposed to the principal

key, A major, and somewhat modified (124-135).

Principal Theme begins in measure 135, where the preceding theme

ends; consequently, there is an Elision. In measure 140 it is

dissolved into the

Coda: Section 1 (to measure 148).

Section 2 (149-160).

Section 3 (161-172).

Section 4 (173-180).

Section 5 (to end).