symphonies as precedents. For Rosen, the exposition comprises the A minor and F major sections; the brief developmental episode is a true development; and the middle section that directly transposes the exposition is a harmonic development (in the dominant and mediant keys, on the sharp side of the tonic) while acting thematically as a recapitulation. This allows the final section to act as a harmonic recapitulation (as it remains in the tonic throughout), while incorporating thematic development. II. Allegro ma non tanto The second movement is a minuet with trio, rather than the scherzo with repeated trio that Beethoven used most often in his works starting with his second symphony. The trio evokes a musette with its melodies over sustained tonic (here, A) tones. It partly reuses Beethoven's Allemande WoO 81. To begin this movement (), Beethoven exposes the fourth in a three-note gesture (G–A–C) four times, with the violins and viola in unison and the cello an octave below. In m. 5, this motive is combined with an inverted variation (outlining a descending fifth) in mixed rhythm. Philip Radcliffe (1965, p. 114) says that the three-note gesture shares with the opening of the first movement “the unusual feature of beginning on the leading note of the scale.” Daniel Chua (1995, p. 113) points out that this creates “rhythmic ambivalence”, especially when the two motives combine in bar 5: “In this way, as the two patterns interlock a gentle tension is induced by the differing rhythmic currents and admits the possibility of two contradictory metrical interpretations.” The trio adds to parts of his Alemande Woo 81 (also in A major) an A pedal note (first on the first violin and then on the other instruments) that creates a sound atmosphere reminiscent of old or popular music played on bagpipes or hudry gurdies. III. Molto adagio – Andante At about 15 to 20 minutes in duration, the third movement is the longest of the quartet. Formally described, it alternates slow sections in a modal F with faster sections, "Neue Kraft fühlend" ("feeling new strength"), in D. The slow sections each have two elements, (1) a passage reminiscent of the opening of the first movement in which the instruments overlap each other with a brief motive; (2) a chorale, the actual song. In the three instances of the slow section, the overlapping motives become increasingly complex rhythmically, while the chorale is pared