| 11. | The " Vordersatz " is answered by a four bar phrase of semiquaver motifs in sequence.
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| 12. | The subsequent repeated semiquaver passage-work over a walking bass recalls the style of Georg Philipp Telemann.
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| 13. | The semiquavers continue unabated like a moto perpetuo throughout the ritornello, passing from one voice to another.
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| 14. | In the first sixteen bar segment it alternates with semiquaver scale passages played imitatively between the two manuals.
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| 15. | A brief 5 bar coda reprising the imitative semiquaver scales leads into section " B ".
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| 16. | The melody is played by the first violins in unison, their falling appoggiatura semiquavers reflecting the galant style.
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| 17. | These are made up of semiquaver triad motifs leaping upwards before descending in the semiquaver figures of the countersubject.
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| 18. | These are made up of semiquaver triad motifs leaping upwards before descending in the semiquaver figures of the countersubject.
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| 19. | The first is the 4 semiquavers D-E-D-E which opens the piece in the cellos.
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| 20. | For example, at the same tempo, 8th notes ( quavers ) would sound like 16ths ( semiquavers ).
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