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 in the subdominant, making any modulatory changes in the transition to the second theme unnecessary – a frequent phenomenon in early sonata form movements written by Schubert.

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.

A new development section is played before the recapitulation is repeated, and the scherzo concludes with a brief codetta.

In the 2nd century, with his theory of " recapitulation ", Saint Irenaeus connected " Christ the Creator " with " Christ the Savior ", relying on (" when the times reach their fulfillment – to bring unity to all things in heaven and on earth under Christ ") to gather together and wrap up the cycle of the Nativity and Resurrection of Christ.

He was trained as a biologist under the influence of recapitulation theory at the time of its domination, and retained a Lamarckian outlook with justification from the recapitulation theory.

Edward Drinker Cope and Alpheus Hyatt reconciled this view with evolutionism in a form of neo-Lamarckism involving recapitulation theory.

For example, the Finale is a combined fugue and sonata form movement: the first theme ( characterized by the downward leap of an octave ) appears in the exposition as a four-part fugue in the strings and the concluding theme of the exposition is presented first as a chorale in the brass, then as a four-part fugue in the development, and culminating in a double fugue with the first theme at the recapitulation ; additionally, the coda combines not only these two themes but also the main theme of the first movement.

We repeat, then, in the light of this recapitulation of events, almost too recent to be called history, but which are familiar to us all, and on the most casual examination of the language of these amendments, no one can fail to be impressed with the one pervading purpose found in them all, lying at the foundation of each, and without which none of them would have been even suggested ; we mean the freedom of the slave race, the security and firm establishment of that freedom, and the protection of the newly made freeman and citizen from the oppressions of those who had formerly exercised unlimited dominion over him.

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.

Both the notion of atavism, and Haeckel's recapitulation theory, are saturated with notions of evolution as progress, as a march towards greater complexity and superior ability.

The recapitulation overlaps with the march, and only brief statements of the first theme group are re-stated.

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 poet connected the first recitative to the following aria by starting the two thoughts in the recitative by a related line from the aria as a motto, and ending both with the a recapitulation of the first line.

The development section leads back into the recapitulation ; notably, the horns appear to come in early with the tonic melody while the strings are still playing the dominant chord.

In the first movement, the solo horn enters with the main theme four bars before the " real " recapitulation.

During the recapitulation, it is in G major with the primary themes from the exposition playing.

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 ).

In line with recapitulation theory, the model applies equally to the evolution of an individual organism and the evolution of the whole tree of life.

However, still others suggest that the Śmigus tradition is actually simply a youthful recapitulation of a Good Friday Polish tradition, in which parents wake their children with switches from twigs, saying the words of a Lenten prayer " God's wounds " – " Boże rany ".

In keeping with Beethoven's exploration of the potentials of sonata form, the recapitulation avoids a full harmonic return to B-flat until long after the return to the first theme.

#: 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 donor's liver will regenerate approaching 100 % function within 4 – 6 weeks, and will almost reach full volumetric size with recapitulation of the normal structure soon thereafter.

# 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.

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 ).

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 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.

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

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.