11. The " Vordersatz " is answered by a four bar phrase of semiquaver motifs in sequence. 12. The subsequent repeated semiquaver passage-work over a walking bass recalls the style of Georg Philipp Telemann. 13. The semiquavers continue unabated like a moto perpetuo throughout the ritornello, passing from one voice to another. 14. In the first sixteen bar segment it alternates with semiquaver scale passages played imitatively between the two manuals. 15. A brief 5 bar coda reprising the imitative semiquaver scales leads into section " B ". 16. The melody is played by the first violins in unison, their falling appoggiatura semiquavers reflecting the galant style. 17. These are made up of semiquaver triad motifs leaping upwards before descending in the semiquaver figures of the countersubject. 18. These are made up of semiquaver triad motifs leaping upwards before descending in the semiquaver figures of the countersubject. 19. The first is the 4 semiquavers D-E-D-E which opens the piece in the cellos. 20. For example, at the same tempo, 8th notes ( quavers ) would sound like 16ths ( semiquavers ).
