[Sonata Theory] 53~54p: Expansion-section subtype of continuous exposition with no caesura signals

Related text in original book: 53~54p
"FS may move pas the S-point without our noticing it. In other words, we eventually come to realize that we are beyond any conceivable S-point. By all reasonable standards, it is now too late for an S-theme, although we did not register our having passed by its potential moment: we heard neither a medial caesura nor any compelling generic signals of an approach to one. To be sure, such pure instances of the continuous exposition are rare among celebrated works of the later-eighteenth-century composers - the Presto finale of Haydn's Quartet in B Minor, op. 33 no. 1 is a locus classicus: TR⇒FS extends from m. 13 to the III:PAC EEC at m. 51, followed by C-material in mm. 52-63. Another is the first-movement exposition of his Symphony No. 13 in D - notable also because the TR⇒FS portion of the exposition (m. 14 beat 3 to m. 34) pushes all the way to its end: in other words, this exposition lacks a C-zone altogether. This is case, therefore, where the third of Larsen's supposed "three parts" does not exist. Still another, much later, is the exposition of the finale of his Piano Trio in C, Hob:XV: 27. Here the relentlessly churning TR⇒FS (mm. 43-81, with C occupying mm. 81-93) follows its conceptual opposite, a square-cut, rounded-binary P, mm. 1-43 (a characteristic final theme of "rondo character," even though what follows is not a sonata-rondo: see chapter 18). This type of continuous exposition also appears in pieces from the earlier part of the century. Elementary examples may be found in some of the Sammartini symphonies from around the early 1740s and in several of first movements of C. P. E. Bach's keyboard sonatas from the same time, such as the "Prussian" (1740-43) and "Wurttemberg" (1742-44) Sonatas."
"In the first movement of Sammartini's Symphony "No. 3" in D Major (J-C 15, before c. 1742) the first half of the binary (proto-sonata) structure may be construed as: P (mm. 1-8); a short-winded FS (mm. 9-19) that never suggests anything caesura-like but does lead to the EEC (V:PAC) at m. 19; a brief, cadential close (C, mm. 20-28)."
"In C. P. E. Bach one often finds a similar format: an initial P-gesture; a modulatory TR⇒FS (typically sequential - and rarely very long) that proceeds to a PAC (the EEC); and a (brief) "appendix" theme (C)."
Haydn, String Quartet in B Minor, op. 33 no. 1, iv [0:00]
Haydn, Symphony no. 13 in D, Hob.I:13, i [0:50]
Haydn, Piano Trio in C, Hob.XV:27, iii [1:36]
Sammartini, Symphony "No. 3" in D, i [2:27]
C. P. E. Bach, "Prussian" Sonatas, Wq.48, no.1, i [2:56]

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