The opening section is reprised exactly and in its entirety. Time does not have an effect.

The second movement song, Thither, is replayed identically. Time does not have an effect.

The first refrain of the A-section is literal. The only change is that, when it returns after the B-section, the melody is played only once and then proceeds directly into the C-section.

A: The C-section is characterized by a new, faster underlying rhythm. When the A-section once again returns, the theme is the same but the accompaniment does not revert to its original speed as expected. Instead, the C-section’s faster rhythm continues, blurring the distinction between the two sections. Thus, Beethoven’s ending is rhythmically intensified.

The first refrain of the A-section is literal. The second begins identically, but then a haunting transformation takes place: The theme, which had been continuous, is broken up into fragments, separated by silences.

Time has had an effect! What musically motivates these silences? Compare the starting and stopping nature of the A′-section with this passage from earlier in the work:

Mozart never returns to the original A-section: The fragmented version is the last one we hear.

Yes, time has an effect. In the return, the theme is mainly plucked, rather than bowed. There are sudden interjections. The rhythms are also subtly changed.