I'm sorry, but I will contest the analysis of the second movement. The second theme does not exist as it is a variation of the first theme in the dominant. I believe the exposition lasts until measure 32. Measure 33 marks the beginning of the development section. The recapitulation starts at measure 72, and the coda at measure 91. Wouldn't this be the structure of a monothematic sonata?
Don't feel that you have to apologize to contest one of my analyses, I welcome it! The tonic primary theme in measure 49 precludes any other starting point for the recapitulation. but as to whether the sonata is monothematic, it absolutely is. Haydn's secondary themes are often based on the primary theme; either varied as in this case, or more rarely, exact repetitions. that doesn't preclude them from functioning as secondary themes. If you are to chop the secondary theme off of the exposition and say it is part of a development, the exposition would not have an essential structural cadence in the dominant or indeed, in any key, which is the the main function of a secondary theme.
I'm sorry, but I will contest the analysis of the second movement. The second theme does not exist as it is a variation of the first theme in the dominant. I believe the exposition lasts until measure 32. Measure 33 marks the beginning of the development section. The recapitulation starts at measure 72, and the coda at measure 91. Wouldn't this be the structure of a monothematic sonata?
Don't feel that you have to apologize to contest one of my analyses, I welcome it! The tonic primary theme in measure 49 precludes any other starting point for the recapitulation. but as to whether the sonata is monothematic, it absolutely is. Haydn's secondary themes are often based on the primary theme; either varied as in this case, or more rarely, exact repetitions. that doesn't preclude them from functioning as secondary themes. If you are to chop the secondary theme off of the exposition and say it is part of a development, the exposition would not have an essential structural cadence in the dominant or indeed, in any key, which is the the main function of a secondary theme.