This movement employs a three-key exposition.
It employs the three-key exposition, a recurrent element in Schubert's style.
In Brahms's works dating from the early 1860s, a clear Schubertian influence can be observed, in features such as closed lyrical themes, distant harmonic relationships, and use of the three-key exposition.
He frequently expanded the number of tonal centres (central keys) in the exposition, and sometimes also the number of basic themes, from two to three.
For example, he increased the importance of the coda, or concluding section, and used unusual keys in the exposition, which was greatly expanded in length.
A common way of preparing for the appearance of the dominant key area in a sonata exposition was for the composer to overshoot his mark, moving temporarily to the dominant of the dominant, thereby using chromatic chords.
The recapitulation may be simply a virtual repetition of the exposition, with appropriate key changes, or may be truncated, expanded, or otherwise varied so as to continue developmental processes.
The exposition moves from the original key to a new key; the development passes through several keys and the recapitulation returns to the original key.
He also offers a much more extensive précis of Peeters's book, managing both a deft exposition of Derrida's key ideas, and an admirably compressed account of the biographical high points.
His most famous recording, "Honky Tonk Train Blues," was one of the most vibrant and exhilarating of all boogie-woogie expositions and was a key factor in the feverish, if transient, craze for the idiom in the late 1930s.
