The first cadence (in measure 4) has again, strictly speaking, the elements of a perfect cadence, but, like others we have seen (Exs.

50, 51), too near the beginning to possess any plausible concluding power.
A somewhat similar specimen may be found in the theme of Mendelssohn's Variations in D minor, op.

54, which see.

Each Part is a regular period-form, with correct semicadence and perfect cadence.

The problem of "agreement and independence" in the relation of Part II to Part I is admirably solved; it is a masterly model of well-matched Unity and Variety, throughout.
For a longer and more elaborate example, see No.