Example 4
Example 5
The exposition of the G-minor Trio Let us leave the D-minor Trio for a while and take a closer look at the exposition of the G minor Trio Op. 110. Constructed as a large sentence, the opening phrase divides into a presentation (mm. 1–8) and into an extended continuation (mm. 9–25), closing with a powerful perfect authentic cadence. Indeed, if we compare the opening phrases of the D-minor and G-minor Trios, we soon observe that 1) both movements begin with a somewhat unstable tonal position and on a relatively low dynamic level, and 2) both opening phrases aim towards a cadential closure, which is only reached in the final measures, producing a local climax as well. Yet the most characteristic feature in the exposition of the G minor Trio is that it has only one successful authentic cadence in the secondary key. Moreover, this cadence is only reached in the final measures of the exposition. There are, on the other hand, several evaded attempts to reach the closing cadence. How is this reflected in the harmony and voice-leading structure? 105