For instance in the first movement of Richard Strauss's 2nd symphony in F minor, the recapitulation begins with the first subject group in tonic but modulates to the mediant A-flat major for the second subject group before modulating back to F minor for the coda.

The secondary theme, first presented in E major ( enharmony of Fb major, neapolitan of Mib ), begins its second statement in C major, a key in which it is not expected until the recapitulation.

The recapitulation begins, unusually, in the subdominant key of F major.

The development section begins on D major and touches on D minor and C major before the work returns to G major for the recapitulation – a repetition of the exposition with both subjects in the same key, as is conventional.

The recapitulation begins with the newly composed second theme, and transitions to the Coda through some variations of the fanfare motive from the end of the development.

An abridged version of the first subject begins the recapitulation, after which a piano cadenza restates the second theme.

The first movement is a slightly unusual sonata form since the recapitulation begins, as in the first movement of Mozart ’ s sonata facile ( and Schubert's ' Trout ' Quintet ), in the subdominant, not in the main key of the piece as is more usual.

Alan Walker, the foremost contemporary Liszt scholar, believes that the development begins roughly with the slow section at measure 331, the leadback towards the recapitulation begins at the scherzo fugue, measure 459, and the recapitulation and coda are at measures 533 and 682 respectively.

The recapitulation begins in bar 486 again with the orchestra playing its opening theme.

The recapitulation follows the broad outlines of the exposition, except the subordinate theme ( measure 224 ) begins in E-flat major instead of the customary D-major.

After much contrapuntal work ( including a charming " horse-riding " episode worthy of Rossini, beginning in measure 296 ), the recapitulation begins with the now familiar question-answer motives, this time enunciated by the combined strings ( measure 371 ).

The dominant of A minor is reached ( bar 75 ) and here, the recapitulation begins, once again over a dominant pedal.

After a development section based mostly on motives of the principal theme group, the recapitulation begins at bar 302, with the second theme returning at bar 350.

In the recapitulation section, the key of the first subject group may be in a key other than tonic, most often in the subdominant.

According to Charles Rosen, the practice of beginning a recapitulation in the subdominant was " rare at the time sonata was written ," though the practice was later taken up by Franz Schubert.

The key is B flat major, the subdominant of F, and the organization is what Charles Rosen has called " slow movement sonata form "; that is, at the end of the exposition there is no development section, but only a simple modulation back to B flat for the recapitulation ; this also may be described as sonatina form.

* Occasionally, the reappearance of the opening material at the beginning of the recapitulation is in the subdominant key ( a famous example is Mozart's Piano Sonata K. 545 ), which serves the same resolving function as the tonic.

This opening cell is repeated extensively throughout the movement-at the start of the development ( 89 ), in the recapitulation ( 137 ), and also during the coda ( transposed into the subdominant ( 220 ), and then at its original pitch ( 237 )).

" The Judge, declining to aggravate the prisoner's feelings by " a recapitulation of any portion of the details of what I fear, I can only call your criminal career ", passed sentence of death.

If an invention does have any recapitulation at all, it tends to be extremely short-sometimes only two or four measures.

In music, a reprise ( ; from French ) is the repetition or reiteration of the opening material later in a composition as occurs in the recapitulation of sonata form, though — originally in the 18th century — was simply any repeated section, such as is indicated by beginning and ending repeat signs.

For the recapitulation, Beethoven transposes the second subject into A major, which quickly changes into A minor and then back to C major again.

The passage just before the recapitulation brings a sequence of enharmonic changes and, for the period, wide modulations.

All thematic material is lyrical ; contrasts are achieved through the use of contrapuntal writing ( as in the middle section of the subordinate theme, beginning in measure 57, and especially in beginning in measure 65 ), or color contrasts ( such as changes of keys -- beginning of the development, and particularly the non-traditional key of the subordinate theme in the recapitulation ).

At the beginning of the recapitulation, the theme is replayed before a differing transition is heard, returning to the music heard in the piano exposition ( this time in B-flat major / B-flat minor ).

With this success behind him Cerezo felt able to give a positive recapitulation of his presidency, and he was able to hand power over to his successor Jorge Serrano in the first democratic transition of power since 1951.

It is predominantly Haydn who created the transition to the development and the transition to the recapitulation, as moments of supreme tension and dramatic interest.

The recapitulation is similar to the exposition with the exception of expected differences in the transition passage.

# Deuteronomy: " second law ," refers to the fifth book's recapitulation of the commandments reviewed by Moses before his death.

The music now transitions to a quiet recapitulation of the main melody during which the pair engage in a muted and tender partnering, and here the second passage involving sequential imitation appears.

In terms of key relationships, it is very like binary form, with a first half moving from the home key to the dominant and the second half moving back again ( this is why sonata form is sometimes known as compound binary form ); in other ways it is very like ternary form, being divided into three sections, the first ( exposition ) of a particular character, the second ( development ) in contrast to it, the third section ( recapitulation ) the same as the first.

The opening movement, colossal in its conception ( much like the symphony itself ), roughly takes the shape of sonata form, insofar as there is an alternating presentation of two theme groups ; however, the themes are varied and developed with each presentation, and the typical harmonic logic of the sonata form movement — particularly the tonic statement of second theme group material in the recapitulation — is changed.

The fourth movement imitates the first in that the move to the second subject first adopts the " wrong " key, then moves to the normal key ( exposition: dominant, recapitulation: tonic ) after a few measures.

The movement can be explained structurally in terms of sonata form, but it departs from the standard model in a number of ways ( just before the recapitulation, for example, new material is introduced, which might have been used as the second subject in the exposition in a more conventional work ).

The movement can be considered to be in sonata form, with a repeated first half beginning in the home key of D major and modulating to A major, then a second half beginning with a development of previously heard material ( passing through B minor ) followed by a recapitulation of the first half, now entirely in D major ( this second half also repeated ).

After the first theme development and recapitulation of the second theme, the main melody from the first movement reappears, before the movement is " closed " by the orchestra in a manner similar to the introduction.

#: The third movement is structured much like the second, with a slow initial theme, a faster middle section that evokes the first movement, and a recapitulation of the initial theme.

The recapitulation sees a dissonant version of the fate motif displaced by a cor anglais solo which meanders towards a restatement of the second subject.

After a grave climax with gigantic orchestral chords and a last " struggle " in marching rhythms, the ethereal recapitulation ensues, in which the first and second themes are integrated, although much reduced and played softer, as if only the shadow of what was before remains.

During the recapitulation, the opening themes are repeated with the second theme being played in the E major before returning to E minor for the closing of the movement.

The piccolo only sustains a long note in unison with the flute at the exposition of the 1st movement and the English Horn only plays a short, but exposed phrase during the second recapitulation of the main " bird call " theme, also in the 1st movement.

In the same work, the key scheme of the recapitulation is also altered – the second subject in the recapitulation is in F sharp minor, rather than the F minor of the first subject.

The second theme is finally presented and leads to the recapitulation.

This included the unacademic but dramatically brilliant choice of leaving the love theme out of the development section, saving its confrontation with the first theme ( the conflict of the Capulets and Montagues ) for the second half of the recapitulation.