A - B e A - B
It is interesting to see how strongly this little movements relate to its parent first movement. We can clearly notice in the use of the dotted quaver followed by the semiquaver which relates by augmentation with the Allegro Moderato’s main motive.
Menuet Allegro Moderato
It’s antecedent depicts a periodic shape while its consequent is sentencial; ergo, A is overall sentencial. The simplicity of A’s antecedent is of exquisite handcraft. It’s second quarter (bar 2), the same as its fourth (bar 4), opens with an augmentation of the motive in bar 1.
motive in bar 2 - augmentation - motive in bar 1
It’s descending melodic contour provides the perfect gentil resolution the ornamented "f" on bar 1 allowing the segment to give in by its end.
It’s consequent, sentencial, is a build up achieved by a repeated argument around the 7th degree sensitive. It is wonderful how this repetition destabilizes the tonality and allows "A" to half-cadence on to the dominant C.
It is a very simple but effective sentence. It contrasts with “A” mainly in texture. The opening chords provide a thick-textural-ascending-opening towards the dominant, contrasted by a liquefying resolution in the treble.
The consequent is based on the tail of its antecedent.
B antecedent's tail B consequent main motive
It basically follows the same form as the antecedent with the addition of a registral variation towards the end of the phrase.
registral variations of "B"'s consequent
B is then followed by a codetta which ends the first section.
It is interesting to see the wise use Haydn does of the material in "B"'s antecedent to build up its consequent by condensing this last feature of the antecedent.
Again sentencial, it is based on the head of the theme. It’s main purpose is to keep the tension created by the dominant so we can land back on the tonic.