Mvt 1:

EXPOSITION:
24:29 Mvt 1, Theme 1 (abbreviated T.I-1) [The theme itself is divided into two c
omponents. T.I-1A is the downward third at 24:31, and T.I-1B is the snaking line
in the LH at 24:34. Note that the opening arpeggio is actually identical to T.I
-1B, with the chromatic E natural removed.
25:14 T.I-1A, developed
25:36 T.I-1B, developed (shortened form in RH, long form in LH)
25:49 T.I-1A in the downward semiquaver-quaver skips in RH, T-I-1B in the long a
rc of the melody (Gb-F-Eb-Bb etc), variant on opening arpeggio as middle voice.
26:10 T.I-2 The second theme is itself derived from T.I-1B s downward chromatic F-
E-Eb. Also note how at 26:22 T-I-1B forms part of the LH accompaniment.
27:10 T.I-1B in RH high voice
27:24 T.I-1A in high voice
DEVELOPMENT:
27:55 T.I-1B (counterpoint, in multiple registers)
28:42 T.I-2, partial statement [BELLS]
29:06 T.I-1A, RH (most obvious at 29:11 etc. Note how at 29:06 the LH also outli
nes the head of T.I-1B)
29:49 BELLS in LH, joined by RH at 30:02. Lead-back to recapitulation.
RECAPITULATION: 30:17 [Note how the recapitulation does not repeat T.I-1 episodi
cally, as the exposition did]
31:52 T.I-1B, RH
32:01 T.I-1A, RH
32:22 T.I-1B, RH (chromaticism)
33:04 Coda
33:19 T.I-1B, LH
33:26 T.I-1B
Mvt 2:
A SECTION
33:44 Interlude
34:12 T.II-1
34:36 T.I-1A (falling third motif in upper voice)
34:57 contrasting passage, with elements of T.I-1B in LH lower voice
35:45 T.II-1, with decorative voice [BELLS]
36:04 T.II-1, climax
36:40 transition to B section, with T.I-1A (falling third at 36:44 in upper voice,
etc)
B SECTION
37:10 development of T.I-1B (RH and LH)
38:19 development T.I-1B in RH [BELLS in LH]
38:55 [BELLS] modulation to E
A SECTION
39:14 return to T.II-1, with shift of rhythmic emphasis (a very simple transform
ation that makes the theme almost unrecognisable)
[Lugansky at 17:01 the 1931 version ends Mvt 2 with a reference to T.I-2]
Mvt 3
EXPOSITION
40:27 Interlude, now in
40:53 T.III-1A, in Bb (downward arpeggio, with reference to T-I-1A at the beginn
ing)
41:02 T.III-1B, in Gb (with reference to T-I-1B in its melodic contour and a quo
te from T-I-1A at 41:05, and a quote from T-I-1B in the RH at 41:06. )
41:33 T.I-1A/T.III-1A, then T.III-1B at 41:36
41:48 Transition Theme (unusual 3rd group of themes in a Sonata-Allegro movment)
41:56 Quotation of T.I-1B
42:21 T.III-2
DEVELOPMENT
43:25 T.III-1A (repeated)
43:36 T.III-1B
43:42 T.I-1B in RH high voice
[pattern of alternating T.III-1A & T.III-1B in different keys continues]
44:06 combination of T.I-1A and T.III-1B
44:30 T.I-1B (LH)
44:59 T.III-1B & T.I-1A (inverted), RH
RECAPITULATION
45:15 T.III-1A, in D
45:20 T.III-1A, in Bb
45:27 Transition
45:51 T.III-1A, in Bb
45:46 T.III-2 [climax]
46:50 CODA [incorporating T.III-1A, I.1A+B]