To be exposed as the first theme at the beginning is the variant common
theme. Its variant form is the same one as that of the third theme in Cp.8
though it is called the inverted form in Cp.8, while the authentic form in Cp.
11 oppositely.
Soprano in blue from bar 5 is a real response, accompanying to no counter
theme.
The motive ゛A゛in alto at bar 4, the tail of the theme, is frequently stated
throughout section 1, and the motive ゛B゛ at bar 7 is once again stated at
the end of section 1.
Frequent use of motive ゛A゛, including its inverted form, is exemplified in
blue in the music below. Tenor at bar 16 is the tail of the theme.
Motive ゛A゛ from bar 16 to bar 19 looks stretto and comes simultaneously
in soprano, alto and tenor in bar 21, and then do that again triply at bar 183
afterwards.
The theme in soprano in blue from bar 22 is next handed to tenor at bar 23
and to bass.
The motive ゛B゛ we pointed out at bar 7 reoccurs at bar 22, reminding you
of recurrence to the beginning of the piece.
