Rosen believes it begins in bar 65
on the implied dominant pedal, while the analysis used here points to bar 69 as
the beginning.
Rosen calls the final cadence an anticipated tonic in that
the fundamental base note is reached tentatively four times over a weak beat in
bars 72-74.
Harmonically, the piece ends in bar 73, which gives the fortissimo of the last bar all the more impact.
Cholopow highlights the fact that this movement reveals
characteristics of the small "bi-thematic" rondo, which are:
1)
The fact that the rondo is a common form for a final
movement.
2)
The characteristics of perpetuum mobile of the final movement of opus 35 are similar enough
to the "rolling" character of a typical rondo that is attained through
continuous, even rhythmic motion.
3)
Alternation of subjects and episodes as shown in the
analysis (typical of all rondos).
4)
Rondos have two, not three, subjects. This last point
is debatable.
It is interesting to note that all these characteristics,
typical of a rondo, are present in the finale of Chopin's next sonata (opus
58), that is undoubtedly in rondo form. In addition, Cholopow notes that the
structural outline of the Finale of opus 58 is the same as Chopin's other works
in rondo form i.e., Rondo opus 5, Rondo opus 73, Rondo opus 16, and the third
movement of the sonata opus 65.
Furthermore, both Finales of opus 35 and opus 58 are characterised by a similar
general structure as shown in Table 2:
