This is a common feature and trait of the period, as Caplin argues that ‘most Classical themes begins with a two-measure basic idea.’ This is because a two-measure basic idea unit is small enough to be grouped together with other idea and form phrases and themes. At the beginning of Part A, the first two measures of the movement establish the primary melodic material, which can be called the basic idea. Measures 1-15 represent Part A of the movement measures 1-4 create a ‘functionally stable ’ principal theme in the global tonic, characterised by descending semiquavers. The movement concludes with a perfect authentic cadence in the global tonic, E-flat major. The piece then modulates back to the tonic in measure 22, however it isn’t until measure 27 that this tonal return is stable. The movement begins in E-flat major, the global tonic of the piece, and cadences on the dominant B-flat on the downbeat of measure 15, the half waypoint of the movement. The tonal content of the piece describes the binary division precisely. I would argue that this movement is in rounded continuous binary form as it contains a tonic reprise of the opening music roughly at the midpoint of the second section plus, the A section modulates to the dominant. Owing to the tonal deviation in measures 19-21 and the Coda, the second part of the binary form is six bars longer than the first half, with the bulge at the end classifying the AA’ as rounded. The total form of binary consists of two-part design, which is distinguished by an internal double barline, in which a close material relationship exists between the two sections as the second section is based on the first. I would argue that the first movement is in binary form (||A||A||) as the double bar lines in measures 15 and 33 indicates that the composer conceived the movement to be in two clear and distinct parts. This has led to many academics debating whether is in Sonata form, as expected, or in Binary form. The structure and syntax of the first movement has been under examination due to the fact that it doesn’t have a definite or rigid design.
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