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It was reintroduced almost surreptitiously as a distinctly subordinate partner and regained a leading role only toward the end of the 18th century in Mozart’s later violin sonatas and then in those of Ludwig van Beethoven.

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He frequently expanded the number of tonal centres (central keys) in the exposition, and sometimes also the number of basic themes, from two to three.Key by this time had assumed a central role as the fundamental articulator of form.As a corollary, musical themes were often, though not always, reduced to the status of mere motives, or tags.Rather, it was a principle of composition that grew out of earlier forms and that can be generalized from an examination of the actual work of Haydn, Mozart, Beethoven, and their contemporaries.Schubert’s interests lay in new directions, and the first steps in two such directions are to be found in the greatest of his instrumental works.

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