txtCommentary1=A {\uldb theme}{\v 99088} in a {\uldb sonata-form}{\v 96905} {\uldb movement}{\v 151907} is identified by its initial association with a {\uldb key}{\v 85386} area. Thereafter it is referred to by means of that association\'97just as the places in which people are born do not change regardless of the later course of their lives. For example, a theme from the {\uldb primary area}{\v 93113} that is then used in the {\uldb development}{\v 79173} is identified as the \'93primary-area theme.\'94 This interrelationship
txtChapterHead=Anatomy of a Quartet
numbuttons=0
numfields=0
txtCommentary2=\par\par between theme and key area is fundamental to sonata form. Like the first half of a {\uldb binary form}{\v 153069}, the entire {\uldb exposition}{\v 81751} often repeats. (Mozart calls for repeats in the first and last movements. Because of time constraints on the disc, the {\uldb Angeles Quartet}{\v 140636} takes the repeat in the first movement but not in the {\uldb finale}{\v 82354}.){\fs24\uldb \'80}{\v next}
